electronic/experimental music

Stockhausen wrote an influential article in 1957 called

"...how time passes..."

Robert Ashley said this about electronic music

"It can go on as long as the electricity comes out of the wall"

Hammond B3 was released in the

1950s

This was the first composer of elektronische musik

Herbert Eimert

a group of Japanese artists formed this collective in 1951

Jikken Kobo (Experimental Workshop)

this guy made a prototype of an eight track machine in 1954

Les Paul

Here are some other famous composers who used columbia princeton

Luciano Berio, wendy carlos, Mario Davidovsky, Jacob Druckman (1928-1996), Halim El-Dabh, and Pauline Oliveros

The operational committee of the Columbia-Princeton Electronic Music Center was

Luening, Ussachevsky, Babbitt, and Roger Sessions (1896-1985)

the openness of the Milan studio attracted composers like

Luigi Nono (1924-1990) and John Cage

This was the name of the machine that composed 4,000 pop songs after being fed the characteristics of 100 that were then popular

Push-button Bertha

this studio was closed in 67 but its main control room and equipment have been preserved as part of a museum exhibit at this museum

Siemens Studio fur Elektonische Musik, Siemens museum in Munich

In 1948 this composer in Japan said that technology could bring noise into tempered musical tones

Toru Takemitsu (1930-96)

Henry's compositions began with

a structure

modular

a synthesizer intended for studio use rather than live performance, featuring a set of modular audio-generation and processing components that can be expanded to meet the needs of the musician

the loudness or volume of a sound and its constituent harmonics

amplitude

modulate the filter by changing its cutoff frequency in a fluctuating pattern

an LFO signal fed to a VCF

Forbidden planet was the first movie with

an entirely electronic music soundtrack

Paul Hindemith and Ernst Toch (1887-1964) used the gramophones as

an instrument (Neue Musik festival/Berlin/1930)

1966 was the year in which the earliest form of this was becoming known and would drive musicians back into institutional studios

analog music synthesizers

in relation to the frequency relationships of periodic waveforms, the theory of wave physics by Fourier states that

any periodic vibration (waveform), however complex, is comprised or can be created by combining a series of simple vibrations whose frequencies are harmonically related

the olson Belar composing machine was essentially dead on arrival as far as the practiced composer was concerned bc

any wider application beyond Foster songs was deemed impractical.

Kagel's Transicions featured

arrhythmic, seemingly formless sequence of sonic exclamations without pattern (influence of Cologne serialism)

Kurzweil music systems

as a consulting engineer, moog head new production research at this place form 84-89

Henry is more of a this instead of an engineer

composer

patch panel diagrams, not unlike pages from a coloring book, upon which they could draw the various connections for any given setup of patch cords and dial settings

composers were sometimes given these with the moog modular synthesizer

reverb

comprises the sum total of all such elections as expressed by a prolongation of the sound, where individual reflections are not discretely perceivable.

Unlike Hiller and Isaacson, Xenakis's early experiments did not result in the

computer itself composing music

an understanding of the wave structure of sound led to a robust reassessment of tonal systems used by composers. a technical understanding of these two things stemmed from this research

consonance, dissonance

In Cologne visiting composers learned to

construct highly logical pieces of purely electronic sounds, although this ideology was waning by the end of the 50s

these are extremely limited in their frequency response, responding only to a narrow band of vibrations of no more than a few thousand hertz, usually at the lower end of the scale

contact mics, or pickups

these are not designed to detect vibrations in the air but rather to transduce vibrations from a solid surface with which it is in close proximity or in direct contact

contact mics, or pickups

Analog electronic music components such as oscillators, amplifiers, and filters can be controlled by

control voltages, the voltage-controlled oscillator (VCO) is a simple example

the martenot uses the left hand to

control volume, and later on expression keys to filter the tones.

the speed of each tape on Le Caine's multi track was

controlled by a touch-sensitive, 36 key keyboard providing preset speed changes in small incremental steps.

Expo 70' in Osaka was a chance for Japanese electronic musician to

develop a style of music that was clearly distinguishable from the music of Europe and America

The most common guitar pickup uses the principle of

direct electromagnetic induction.

The RAI studio was not

dogmatic in it's aesthetic

an octave in Fourier analysis is created by

doubling or dividing in half the frequency of the first harmonic (fundamental) of a tone

Luening and Ussachevsky had this equipment at the beginning of their work at Columbia

dual-speed Ampex 400 tape recorder, a Magnecord tape recorder borrowed from a radio store, and a Western Electric 369 microphone.

several analog/digital hybrid instruments and a model w a keyboard (the Touche, 78)

during the mid 70s Buchla built

the _________ of a wave is a ratio denoting the proportion of a single cycle that occurs above the equilibrium point versus time below the equilibrium point

duty cycle

the harmonic content of the pulse wave is determined by the

duty cycle

this mic uses a diaphragm affixed to a coil within a magnetic field

dynamic mic

this mic's production of sound occurs when minute fluctuations of the diaphragm in response to sound vibrations create corresponding fluctuations in the magnetic field that can be converted into a weak electric current

dynamic mic

Boulez and Stockhausen extended serialism to

dynamics, densities, amplitude

Varese's friend Rene Bertrand invented the

dynaphone

this is the repetition of a single sound that gradually decays in amplitude and clarity with each successive repetition until it fades away

echo

poeme electronique was written by

edgard varese

the original Mark I RCA Music Synthesizer was not equipped with a tape recorder but rather an

elaborate disc-cutting lathe and playback turntable for recording purposes.

The output of an electric guitar is an

electric signal

The transition from electronic music in live format vs. recorded was based in

europe

Contrapunto Espacial was a story of

evolution of various social stages in human development, from primitive life to modern life (atonal music throughout)

the third trait of electronic music is that it

exists in a state of actualization

written score of poeme electronique is

experimental (graphic elements)

Composer Robert Ashly says that this is the only sound that is intrinsic to electronic music

feedback

this sound source is both abundantly available and difficult to control

feedback

an example of this is when a mic is placed too close to a loudspeaker, the audio signal created by the mic is fed back into itself when it is projected by the loudspeaker

feedback.

Musicologist Benjamin Robert Levy found this in Ligeti's Glissandi which is when a sequence is made where a number is the sum of the two numbers before it

fibonacci series

Luening and Ussachevsky were received a grant from the Rockefeller foundation to study

field of electronic music in Europe and America and to respond with a plan for establishing an electronic music center in the US

Juan Blanco was in demand as a composer for this

film

this is one of the elements treated to serial techniques in Shichi no Variation

filtered bands of white noise

this was unveiled in 1955 and housed at Princeton University where technical staff sought the assistance of Princeton and Columbia composition staff

first RCA electronic music synthesizer known as the Mark I

Fourier theory has two direct applications in electronic music

first, a sound wave is made of component parts and, by analyzing its characteristics (e.g. frequency, amplitude), and second, waveforms can be created with predictable and controllable results by combining simpler waves (e.g. sine waves) into more complex waves

some liken the sound of a sine wave to that of a

flute, though the flute has more body and depth than a pure sine tone, since it contains harmonics, the audible sine wave is a thing, precise tone, similar to a whistle.

Japanese manufacturers in particular designed innovative and less costly technology

following the success of the Moog and Buchla systems in the late 60s,

many new manufacturers entered the market w variations on the modular voltage-controlled synthesizer

following the success of the Moog and Buchla systems in the late 60s,

the next magnetic tape piece after williams mix for cage was

fontana mix (1958)

Hiller and Isaacson viewed music as a

form of information that could be managed by a computer.

Schaeffer and Moles developed one of the first

formal aesthetic handbooks for electronic music.

one continuous roll of punched paper on a Mark II could only produce

four minutes of music (even at it's slowest speed)

Kontakte (1958) was a piece for

four tracks. it uses four speakers which would spin the sound around the listener.

Stockhausen could not get enough studio time so he

hammered nails into his hostel's desk to edit his tape.

Schaeffer drew up three plans for composers

harmonic, dynamic, and melodic

split track

has left and right. maybe with background vox on one and not the other

The Phonofilm worked by

having electrical waveforms and photographically placing them on the edge of motion picture film. The soundtrack was made audible by using a photoelectric cell.

Fontana mix was Cage first magnetic tape piece to fully explore

his chance composition technique

the LFO creates periodic changes in the volume of the signal

if fed to the input of a VCA

LFO can control minute or radical fluctuations in the frequency of the oscillator's signal

if fed to the input of a VCO

the composer asks the electronium to suggest an idea and then

if he wants he can repeat it in a higher key with the push of the appropriate button

tremolo was produced

if the VCA was modulated with a modulation wheel then

vibrato was produced

if the VCO was modulated then

2 (150Hz/75Hz=2)

if the center frequency of a filtered band was 150 Hz and the bandwidth was 75 Hz, the Q factor is

complex and rich-kind of a ghost of the original sound

if the input signal (ring modulation situation) has many harmonics, such as a guitar or the human voice, the resulting output signal is

filter sweep was produced

if the output of the modulation wheel was sent to the VCF then

by 1954 the Barrons had established themselves as

important providers of electronic music and sound effects for film

Donald Buchla

in 1965 Morton Subotnick and Ramon Sender of the San Francisco Tape Music Center (SFTMC) contracted this engineer to design a synthesizer for their studio.

Marimba Lumina, a mallet-style MIDI controller w an onboard synthesizer

in 1999-2000 Buchla introduced

The signal generated by an electric guitar is too weak to drive a loudspeaker, so it

is amplified before being sent to a loudspeaker.

Le Caine built several versions of a device for controlling and experimenting with

multiple audio oscillators. each touch sensitive and could be tuned and switched to play sine, pulse, and sawtooth waves.

elisha gray invented the

multiple harmonic telegraph in 1874. patent dispute with alexander graham bell in 1876

this became a useful technique for composers who wanted to write music for more voices than the synthesizer was capable of accommodating in a single pass of the punched paper reader

multitracking

Cage appeared on an Italian quiz show (double or nothing) and won $6000 because of his knowledge of

mushrooms

thom holmes uses electroacoustic music to mean

music created using electronic and acoustic sound sources.

turntablism

music produced using turntables and recorded discs

Allen Strange (1943-2008) in his classic text about the techniques of analog synthesis, point out that

musical events involve practice in the making of a sound as well as the control or performance of the sound (electronic musicians need to practice too)

a triangle wave features

odd numbered partials but different than a square wave

two groups of Latin American composers were

ones who had access in foreign countries (NYC, Cologne, Milan, and Paris) and those who did DIY at home.

this is the length of time required for a wave to complete one cycle from the equilibrium point to its apex, back through the equilibrium point to its base point and back again to the equilibrium point

period

waveforms can also be said to occupy a space in time, also known as the

phase

this machine is regarded as the first audio recorder

phonautograph. It could not reproduce the sound though?

Antunes had these two professions

physicist and musician

Henry's Le Voyage (1961-62) consists largely of

processed feedback

Audio processing of the output signals at Siemens could employ

reverb, echo, and a method for shifting the frequencies to different ranges.

El-Dabh manipulated his first recordings with

reverberation, echo chambers, voltage controls, and a re-recording room with movable walls.

what set Cage apart is that he used his scientific investigation of sound to help him

rewrite the definition of music. all sounds can be defined as being musical.

Here are some features of Gesange der Junglinge

rhythmic structures barely there, no formal motifs, and the theme was the continuous evolution of sound shapes and dynamics

varese shaped his music around

rhythms and timbres

Studie II was one of the first post WWII tape pieces to have a

score (graphic)

the first stage of development for Hiller and Isaacson to choose a piece was to

select a simple, polyphonic style of music composition. a form of strict counterpoint was chosen as a suitable match for the project.

Raymond Scott had this to control his racks of electronic music devices

sequencer

tangerine dream, kraftwerk, isao tomato, and klaus schulze (b.47)

sequencer-managed music bc synonymous with the steady, trancelike rhythms that characterized the works of such artists as

timing pulse

sequencers were typically triggered by this by a manual controller, such as a keyboard.

this wave undulates evenly

sine wave

Telemusik (of stockhausen) combined

taped sounds of folk music from industrialized and non-industrialized countries and electronically generated sounds.

monophonic

the earliest analog synthesizers were this, capable of outputting only one voltage at a time, conventionally the lowest key to be depressed at any given moment.

Darmstadt in 1952 showcased

the elektronische Musik doof NWDR (Meyer-Eppler and Beyer)

one trick of splicing was this

the hourglass splice which reduced the width of the tape at the point of a splice, providing less surface area from one piece to another. could reduce amplitude though.

all music genes, from rock and jazz to classical and the avant-garde

the interest generated by this one record was responsible for the burgeoning use of synthesizers in

The style of Jacqueline Nova mixed

the know-how of the European electronic music with the avant garde aesthetic of Cage, Tudor, Oliveros

reverb

the length of this is measured from the start of the sound to the point when it decays to 60 dB below its original amplitude.

many of the basic aesthetic concepts and artistic choices invented here remain at the core of electronic music still being produced today

the tape studio composers

about 1960 there was an inclination to imitate in the tape music movement because

the technical options were limited

the teleharmonium's legacy is in

the tone wheels of the hammond organ of the late 1920s

Sony released this in 1951 and this in 1954

the type-H home tape recorder, and transistors

drive oscillators. a dial was used to adjust the frequency range of the ribbon controller

the voltage produced by the ribbon controller (from contact strip pressure) would

voltage control

this is a method of applying metered amounts of current to an electronic component to govern how it operates.

the voltage signal can be preset, precise, and quick, and activated by such easy to use voltage control components as the synthesizer keyboard, thus making the analog synthesizer much easier to manage

this is an advantage of a voltage-controlled device

additive synthesis

this is based on the observation from Fourier theory that a periodic sound is composed of a fundamental frequency, which is dominant, and partials that have a mathematically harmonious relationship to the carrier

control voltage

this is discrete from the voltage used to generate an audio signal

Switched on Bach

this was created by Wendy Carlos after she left Columbia University and was in some ways her reaction against academic music making. "I tried to avoid gratuitous obsession with only dissonance, I tried to make music that was not ugly"

William Maginnis's Flight

this was one of the first people to compose a piece on the Buchla system, on the first night that the initial components arrived in 65

additive synthesis

this was the method used by many of the earliest electronic music composers.

Gruppen was a piece by stockhausen that was written for

three complete orchestral groups stationed at three posts around the audience so that sounds of each ensemble were physically segregated in the listening space

The EMS VCS3 contained

three solid-state oscillators, a ring modulator, envelop shaper, voltage-controlled filter, an internal spring reverb unit, white noise generator, a joystick controller for mixing signals, and a keyboard

poeme electronique consisted of

three synchronized tracks of magnetic tape for the world's fair in brussels

Cage was fascinated by the constituent parts of a sound. these were his four:

timbre (overtone structure), frequency, amplitude, and duration of sounds. by 1957 he added "morphology" or envelope otherwise known as attack and decay characteristics

Rampazzi's music is often considered

timeless

Webern extended serialism to

tone color, rhythm

The teleharmonium operated by

tone wheels coming in contact with a metal brush that was part of an electrical circuit. Cahill devised a way to add or subtract overtones to obtain a full-bodied sound.

Thaddeus Cahill (1867-1934)

took interest in Helmholtz while studying at Oberlin. he made at synthesizer (and contributed the term synthesizer) that could pipe live music to remote locations.

to make a piece for the Mark II a composer would

use a Teletype like keyboard to program by punching holes directly onto a 15 inch (38 cm) wide roll of perforated paper that ran at a speed of about 4 inches (10cm) per second

Riedl did this to program his tones

used 4 telex-like punched paper tape recorders to store and play back binary commands controlling the pitch (up to 7 octaves using a 12 tone scale), volume (set in 32 step increments of 1.5 dB each), timbre (applying band-pass filters), and duration (for reproducing whole, quarter, eighth, and sixteenth notes)

the electronic sackbut used

voltage control techniques to trigger and modify sounds

the modular design of the audio signal processing components of the RCA synthesizer would be duplicated more efficiently in the commercially available

voltage-controlled synthesizers of Buchla and Moog in the mid 60s

minimoog

with sales of about 12k units this model became the most popular and widely used synthesizer of all time.

Cage experimented with radically extreme splices by using the shape and angle of splices to alter the slope of attack and decay of recorded sounds on this piece.

Williams Mix (1952)

Cage realized that funding was running out, so he wanted to do a big piece. This is called

Williams mix. (after their benefactor Paul Williams)

limitations on the teleharmonium included:

a need for an enormous amount of direct current, loss of power/dynamics when adding more keys, and problems with phone line interference.

envelope of a piano note

a note played on this will begin sharply (attack) and will also end abruptly (release), but the middle part of the note can be extended by pressing the pedal (delay and sustain)

A work of electronic music is not real, does not exist, until

a performance is realized, or played in real time (the genesis of the term realization)

heterodyning

a phenomenon of electromagnetic waves that occurs when two ultrasonic signals of nearly equal frequency are mixed; the combination of the two results in a third signal that is equal to the difference between the first two frequencies; the resulting signal is also called the beat frequency; this phenomenon was the basis for generating tones in several early electronic music instruments, including the Audion piano, Theremin, and Ondes Martenot

by the early 60s the flavor and content of Latin electronic music had become to some extent an interesting

amalgam of styles invented at home and learned abroad

all the instruments of the futurists were lost in WWII but the legacy is the use of

ambient sounds (both electronic and electroacoustic)

he could be called the father of the electronic age

american inventor lee de forest

ARP, Oberheim, Korg, Yamaha, Roland, EMS, and Crumar

among the instrument makers to join the synthesizer wars were...some of which continue to make electronic music products to this day

Mumma used this effect in one section of his electronic theater composition megaton for William Burroughs, and his film score Truro Synodicle of 1962

amplified wires

The sound object contains three dimensions

amplitude (loudness), frequency (tone), and time (duration)

to program sounds, patterns, and modulations so that they can be performed automatically or possibly stored for retrieval and playback later

another aspect of playing a synthesizer is the ability

Vladimir Ussachevsky, cofounder and director of the CPEMC in 65

another composer who approached Moog about building some voltage controlled components was

Joel Chadabe (b.1938) at the State University of New York in albany

another early moog customer was the composer and a college teacher who was able to purchase a large suite in 67 with a large grant

change to the bandwidth of the passed band while it maintained the same Q factor relationship with the center frequency

another technique is to keep the Q factor constant while varying the center frequency, resulting in a

Fontana mix is scored for

any number of tracks of magnetic tape, for any number of players, or any kind and number of instruments.

using a tape recorder or circuits designed to provide adjustable settings for room size and reflectivity

artificial reverberation and echo can be produced by

components they wanted and Moog's technicians would assemble them for them

as a modular system, the customer ordered whatever

third step of tape composition

assembling the chosen segments of tape into the desired sequence using a splicing block and splicing tape

Studie II explored the possibilities of

attack and decay characteristics

envelope characteristics refer to

attack, duration, and decay

the three dimensions of the sound object could be further examined by the

attack, sustain, and decay

The music and sound effects were so stunning that, during a preview of the movie (forbidden planet) the

audience broke out in spontaneous applause after the energizing sounds of the spaceship landing on the planet Altair IV

Enkel used a control console that used

audio oscillators (for sine and sawtooth waveforms), variable speed tape recorder, four track tape recorder (one of the first), audio filters (including band-pass filters), ring modulator, and white noise generator

the only equipment Mayuzumi had for Les oeuvres pour musique concrete x, y, and z was

audio oscillators and tape recorders

subtractive synthesis

audio synthesis that employs the selective removal of sidebands or the fundamental frequency to change the timbral qualities of a sound (trautonium has rotary dials to control this)

a transistorized theremin kit and experimenting with custom-made voltage-controlled modules for others

before developing a synthesizer Moog was working on this

the sharp attacks and application of reverb for Study I makes the music sound

bell like

Imaginary Landscape No. 5 was written on

block paper where each square represented three inches of tape. Chance operations denoted duration and amplitude but not which phonograph records

Berio's later work would feature

combinations of instrumental/vocal material, and dramatic stage settings where theater, politics, and dialog often were mixed with the music.

Oram's work was unique in that it

combined the concept of the graphic score with a direct means for converting drawn images into electronically generated musical sound

soon after tape music had become available to Latin composers, it was being used as a

component of larger works for outdoor events, theater, and concerts involving orchestral players and singers

two or more oscillators for generating raw sound material, preset sound (or instrumental "voices"), white noise generator, Voltage-controlled amplifier (VCA), Voltage-controlled filter (VCF), Envelope generator (ENV), Sequencer, and MIDI

components of the voltage-controlled synthesizer

computer music in 55 referred to the use of a computer to

compose music

the RCA electronic music synthesizer is one of the first

computer-operated instruments, although totally analog in its sound-generating capability

this mic's production of sound occurs when the diaphragm is paired with a parallel metal plate to form a capacitor

condenser mic

dynamic microphones do not usually have the same frequency range response as a

condenser mic, although they may be ideal for certain ranges such as that of the singing voice

most recording studios use

condenser mics to capture the full range of human hearing, frequencies from less than 100 Hz to about 20k Hz

the distance from the apex to the base of a waveform is called the

displacement, another designation for wave amplitude.

the sixth trait of electronic music is that it

does not breath: it is not affected by the limitations of human performance.

Lee de Forest was the inventor of the Audion vacuum tube and also the developer of the

earliest optical sound technologies. He developed this Phonofilm in 1919.

The NWDRthis instrument built by Harald Bode in 1947 for Meyer-Eppler who used them in his physics lectures

melochord

The BBC workshop achieved reverb by having a

mic at one end of the room and a speaker with amp at the other end

Cage was able to get new numbers in 1984 with

microcomputers

these respond to waves of varying air pressure

microphones

these are two common methods of capturing sound for use in electronic music

microphones and pickups

martenot allowed for the element of

microtonalism, quarter tones/eighth tones on Levidis's (1886-1951) Symphonic Poem for solo Ondes Muscales and Orchestra

Sala took over trautoniums and improved it. It was called

mixtur-trautonium

controlled one voltage source while moving it from right to left adjusted the second

moving the joystick from front to back

Electric music technology refers to

musical instruments and recording devices that use electrical circuits, which are often combined with mechanical technologies

The painter Russolo wrote a

musical manifesto (the art of noise, 1913). patella tried to expand current instruments but russolo built his own instruments.

El-Dabh recorded one of the first examples of

musique concrete (1944), five years before Scheffer coined that term.

for the RCA synthesizer these could be input, modified, and recorded using a mic in the studio and pre-recorded tapes of other sounds could be modified through the studio's tape recording facilities

natural sounds

Williams mix was begin in May 1952 and took this long to complete

nine months. work is only 4'15''

the magnetic tape recording is analog meaning that

no digitization of the signal is used to record or playback sounds

Musical Instrument Digital Interface (MIDI)

no industry standard existed for linking synthesizers and computers until 84 and the introduction of the

These two recordings were a result of a partnership between Robert Fripp and brian Eno

no pussyfooting (1972) and evening star (1974), each combined elements of rock music with Fripp's distinctive tape delay style of guitar playing

until the intro of digital recording which allows for the making of copies that are as good as the master composers needed to be mindful of

noise as a necessary evil of the magnetic tape composition process

1914 Russolo premiered his

noise orchestra (in rome). russolo and marinetti were arrested afterward for inciting a riot. used intonarumori (noise intoners)

the source material for fontana mix contained

noise sounds, outdoor sounds, recorded music, and electronic effects made available at the Milan studio.

For Studie II Stockhausen put the loudness and attack characteristics through this many stages

five

melochord uses

five octave keyboard which includes two monophonic tone generating systems. the attacks can be shaped.

Gesang der Jünglinge was composed on

five tracks. It uses five loudspeakers that surround the audience.

Williams mix consisted of

hundreds of taped sounds edited together using unusual splices to change the envelop of the sounds. The score was a 192 page graphical composition.

signal processing

if audio signals may be considered the raw material of electronic music, this represents the ways in which these signals can be dynamically modified and shaped.

an LFO can modulate its duty cycle and provide a pattern of changing harmonics in its output

if fed to a voltage-controlled pulse wave oscillator

Schaeffer developed endless loops called

lock grooves

Stockhausen recorded short passages (Study II) of the given tones and spliced them together in a

loop

sound wave components are often related such as

loudness is affected by both the filtering of the audio spectrum and amplitude.

the resulting current of an oscillator precisely mirror the shape of the waveform in a natural acoustic environment and is only audible once it reaches a

loudspeaker

this is also a transducer (along with mics and pickups) and it transforms vibrations stored as electric current back into sound waves in the air

loudspeaker

This is a Luening piece that used the superimposed flute which could also be done using a sine wave oscillator

low speed

after making the initial settings for the music the electronic was set into motion and

made additional parameter changes on its own, automating the creation of tunes according to the rules set by the composer

Pianos were amplified early on with

magnetic pickups

a couple different pickups include the

magnetic pickups (found in electric guitars), and the phonograph cartridge.

if one harmonic or fundamental predominates then the sound can be related to a

note on the musical scale

the hammond organ that used tube oscillators instead of tone wheels (introduced in 1939) was called the

novachord

Stockhausen sought to avoid these in Studie I

octaves, unison, and "symmetrical and monotonous" sequences

Daphne Oram contributed to things called

outdoor sound installations.

the teleharmonium weighed

over 200 tons

hybrid analog/digital technology, then into microcomputers with sound cards, and finally into purely digital performance instruments

over the years, analog technology evolved into

Jean-Michel jarre composed

oxygene

the futurist manifesto was of particular influence on

painters who represented the focus on machinery, technology, and defiance of the status quo

vocoder is a

paper tape reader for setting the pitch, duration, and timbre of a bank of multiple sine wave oscillators, a sawtooth oscillator, reverb unit, and mixing console

varese moved to berlin in 1907 because

paris was not progressive enough for him. he still traveled between these two place and became friends with cubists and futurists

roll-off slope

passing of the frequencies occurs as this that is generally equivalent to about 3 dB attentuation per octave.

the first synthesizers were not designed as

performance instruments for making live music but rather as sophisticated, modular alternatives for the tape studio.

in the late 1950s John Cage and David Tudor discovered that they could get startling results by using this as a kind of contact mic

phono-cartridge

this is designed to transduce the vibrations present in the groove of a vinyl audio recording

phono-cartridge (it does this by way of a needle or stylus that converts the vibrations into an electric current that is amplified)

a distilled form of white noise is called this, which Allen Strange defined as containing all frequencies bt 18 Hz and 10k Hz

pink noise

Babbitt could serialized all these aspects with the Mark II

pitch, amplitude, envelope, timbre, rhythm, and pitch relationships

the martenot uses the right hand to

play pitches on ribbon that is superimposed on a keyboard.

varese took issue with new trends in that the new instruments were

playing the same old music

multi tracking, synchronization, and impeccable timing

playing two or more notes at the same time on the original moog required

turning point in electronic music

poeme electronique (1958)

the musical telegraph is

polyphonic (predates electric organ by 60 years). range of 200 miles

could be argued that the novachord was the first

polyphonic synthesizer

Grossi's work was more

pragmatic and experimental. like his American contemporaries he explored acoustic properties and relationships of electronically generated sounds

the trautonium has metal strips which allow the musician to

pre-set notes

another early Le Caine project was the creation of the first

pressure-sensitive keyboard for an electronic organ. this was a couple decades ahead of its time (1952-57)

Cage got a friend at Bell Labs (late 60s) to write a program that

printed a long list of randomly generated numbers (cage would use this for several years)

manual adjustment of dials that directly affected the AC output of the device. this method was unrelible and required many trial and error adjustments because each separate component of a system, from the multiple oscillators to filters and other special devices, required precise manual adjustments to duplicate any given effect.

prior to the voltage-controlled synthesizer, the performance instruments and signal processing equipment found in electronic music studios were controlled through

the application of computers to music

prior to this, the programming of synthesizers was not as easily done, yet many innovative solutions were devised for applying voltage control to automate important aspects of creating electronic music

the Siemens laboratory was a precursor to the modern synthesizer since it

provided the composer the ability to store programmed sound sequences

after stockhausen completed studies he

returned to instrumental writing for about a year

the artificial reverberation unit at the BBC workshop achieved echo effects by means of a

rotating drum coated with magnetic oxide-similar to magnetic tape-and multiple playback heads that read the recorded sound signal from the drum

the new oscillators on the Mark II could produce

sawtooth and triangular waves.

the sound of this wave is rich and buzzy and is often used to reproduce the sound of reeds or bowed string instruments

sawtooth wave

this wave contains all even and odd harmonics associated with a fundamental tone

sawtooth wave

this wave features the amplitude of each overtone decreasing exponentially as a ratio of harmonic's frequency to that of the fundamental, providing a ramp shape to the wave

sawtooth wave

He produced a series of this many tones from the 1920Hz

six (below this Hz)

Telemusik (of stockhausen) was developed on a

six track recorder at NHK, the only one of its kind in an electronic music studio at the time.

the hammond organ uses this to create a variety of sounds

sliding drawbars

The germans were __________ than the French to adopt electronic music

slower

Imaginary Landscape No. 1 (1939) was conceived for

small percussion ensemble, and turntables playing recordings of electronic test patterns.

advantages of transistors over vacuum tubes

smaller size, durability, low power consumption, highly automated manufacturing process, could withstand shock, and didn't need to warm up

another keyboard-controlled beat frequency instrument made in germany was the

spharophon. invented in 1924-25 by german jorg mager (1880-1939)

the keys of the electronic sackbut were

spring-mounted and pressure-sensitive so that the volume of the sound would increase with the force being applied to them

this is a type of pulse wave whose duty cycle is one half of the total cycle of the waveform, or 1:2, evenly divided between the upper and lower reaches of the wave, hence its ______________ shape

square wave

instruments themselves, providing a variety of control methods ranging from the conventional keyboard to any number of kinesthetically controlled devices that might be useful in the creation of music

standalone MIDI controllers are also available independently of the

configured for the needs of the composer

standardized operating instructions for patch cord setups were not generally available for the moog because each installation of the synthesizer was

equalizer

stereo systems are often equipped with a rudimentary filter for adjusting the amount of bass, midrange, and treble

serialism and chance music begin with a similar motivation

that of disengaging a composer from their natural instinct for making pretty music

electronic music in Japan did not achieve its status as a serious and vital musical genre until well after

the 1970s

Madison Avenue used the electronic music of

the Barrons (only option)

addition of two new control voltage sources

the Buchla 200 (1970) expanded on the already formidable sequencing features of the Buchla 100 with the

New York's two schools were

the Columbia-Princeton (systematic, often serial approach aided by its mammoth analog, programmable synthesizer) and the DIY downtown school of chance composition

The organ is commonly used with, and associated with,

the Leslie speaker.

busoni did not pursue electronic music in his own work but influenced a group of Italian artists, poets, composers, and writers called

the futurists

this is responsible for creating timbre or tone color

the harmonics of a tone. the unique mixture of harmonics for a specific instrument is called the harmonic spectrum

provided a source of timed, stepped control voltages that could be programmed to create repeating note patterns or control sequences without using the keyboard

the sequencer of the moog did this

delay

the signal that is repeatedly re-recorded eventually diminishes with each generation of re-recording is an feature of

the combination of two or more sine waves into a more complex waveform (additive synthesis)

the simplest form of sound synthesis is

voltage-controlled oscillators, amplifiers, and filters

the solid-state Buchla 100 was outfitted similarly to the Moog in its use of

Brian Hodgson (b. 1938) was responsible for many of

the sound effects associated with the television show Doctor Who from 1963-1972

musique concrete originated in the idea of

the sound object being the driving principle behind the creation of the music. a concrete sound could come from anywhere.

first trait of electronic music is

the sound resources available to electronic music are unlimited. composers create the music and the sound itself.

attack

the start of a sound as defined by the time it takes for the signal to go from zero amplitude to peak amplitude

The major compositional element of Williams mix is

the tape splicing techniques rather than merely as a device for hiding transitions from one recorded sound to another.

several other synthesizer manufacturers copied it until Moog's company forced them to cease and desist.

the voltage-controlled filter of the moog was one of the most cleverly engineered components of the system. its design was so unique that

the envelope of a sound

the way the sound begins, continues, and ends

In Contrapunto Espacial the actors, led by the refrains of a solo sax, revolt which led to

the work being banned.

sequencer

the work of RCA, Scott, and Siemens lead electronic music to realize the need for a (for programmability)

In 1957 Luening and Ussachevsky completed a 155 pg. report on the findings in the electronic music field for

their initial Rockefeller Foundation grant.

In 1958 the BBC established the

BBC radiophonic workshop to create sound effects and electronic music for mass media

these were some of the engineers who improved electronic music instruments

Robert Moog, Donald Buchla, Huge Le Caine, and Raymond Scott

20dB

10 x 100 x Four times as loud

smallest unit we can hear is

0db

The olson Belar composing machine selected notes that were weighted by

"a probability based upon preceding events"

Luening called Schaffer's ideological browbeating the

"aesthetic of an engineer"

He figured out in the radio opera that

"by recording the noise of things one could perceive beyond sounds, the daily metaphors that they suggest to us."

Dartmouth University, New Hampshire, has a graduate program in

"electroacoustic music" that broadly "explores the interrelationships among music, technology, cognitive and computer science, acoustics, and related disciplines," which shows the most flexible definition of this term, and also deals with the relationship of the human being in the listening experience, cultural impact of such music, and the tech used to create it

Olson developed the

"electronic music composing machine"

this was the basis for Wendy Carlos' Variations for Flute and Electronic Sound

"strictly organized set of six variations on an eleven bar theme stated at the outset by the flute"

Hiller wrote this about their early computer experiments

"technical decisions of many types would necessarily outweigh in importance subtler aesthetic considerations."

Schaeffer and Henry designated two types of sounds for their first piece

1. Human sounds 2. Non-human sounds

four principles that made Etudes de bruits an important piece

1. act of composing was realized through technological means, working directly with the recording medium. 2. any sound was allowed to be used 3. the work could be replayed using mechanical means. 4. no human was needed to perform the work.

1dB

1.12 x 1.25 x Barely noticeable difference

3db

1.41 x (√2 x) 2 x Noticeably louder

For Studie II Stockhausen used 81 tones that were each

1/10 of an octave

The German company Telefunken made this many trautoniums from 1932-1935

100

Fontana Mix was

11'39"

Luening used these techniques in his work and created wavering frequencies by

12 tone; used multiple tracking to superimpose separate tracks of flute sounds

Le Caine built versions of multiple audio oscillators with oscillator banks of

12, 16, 24, and 108. the oscillator bank could be programmed using an optical reader called the Spectrogram.

Luening and Ussachevsky earned another grant worth this much

175,000 to be paid by Columbia and Princeton over a 5 year period. This helped establish the Columbia-Princeton Electronic music center.

Composer Allen Strange defined white noise more precisely as containing all audible frequencies between

18 Hz and 22,000 Hz

varese moved to NYC in

1915

stockhausen used a set of frequency ratios for his Study I which multiplied the starting frequency of

1920Hz (the center of the human voice range)

electric piano was created in

1929

electric guitar was created in

1931

hammond organ was created in

1934

electric bass was created in

1935

the first practical transistor was developed in Bell lab in this year and then brought into widespread production during this time

1947, early 1950s

Williams mix received its first public performance in

1953 at the Festival of Contemporary Arts, University of Illinois.

Pierre Henry worked at RTF until

1958 when he left to start his own studio, the Studio Apsome, with Maurice Bejart.

Group Ongaku premiered in this year and over two years premiered works of these American composers

1961, John Cage, Christian Wolff, and Morton Feldman

the swan song for the space theater came in

1964

electronic music didn't really exist in China until Beijing Conservatory of Music began to experiment in the year

1984

this guy used tuning forks to illustrated that the timbre of a tone was reliant on the intensity, order, and number of harmonics (overtones and partials) present in a note

Helmholtz

6dB

2 x 4 x Substantially louder

The ILLIAC I had

2,800 vacuum tubes and weighed five tons

these were the engineers for Siemens audio labratory

Helmut Klein, alexander Schaaf, and Hans Joachim Neumann

this is the number of reported works produced by the CPEMC in the first decade

225 (rivaled paris and cologne)

10dB

3.16 x 10 x Twice as loud

Webern's music totals

31 works which last 3 hours

12dB

4 x 16 x A bit more than twice as loud

Juan Blanco's first wore was

5'30" long and called Musica para Danza, completed in 1961, and was probably the first work of el. music composed in Cuba

This many hammond organs were sold from 1929-1940

5,000

the theremin sold only

500 because it was difficult to play

Cooperative studio for electronic music was started in

58, and consisted of rooms set aside in each of their houses

The Cooperative studio for electronic music came to an end in this year when both Mumma and Ashley moved from Ann Arbor

67

18dB

8 x 64 x Nearly four times as loud

This machine was based on the statistical analysis of Stephen foster songs to create a song writing machine

Olson-Belar "electronic music composing machine"

this was based on information theory and developed as an aid to the composer

Olson-Belar composing machine

if walls are smoothly painted they can enhance the

reflective quality

version 1.0 of the spec, which was completed in August 83

Roland, Yamaha, Korg, Kawai, and Sequential Circuits all contributed to

Jean-Michel Jarre calls the memory moog and synthex the

Rolls Royce and Bentley of synthesizers

Thom holmes found recordings of

Rosen. Included Satie's Trois Gymnopedies for three theremin.

Theremin was a

Russian spy, and relayed tech secrets to Russia from 1927. One of his projects was to make a wireless bug.

Robert Moog

Hugh Le Caine invented the voltage-controlled synthesizer in 1945 but this American engineer whose finely crafted solid-state synthesizer modules, introduced during the mid-60s were the first to be sold with any success.

in this piece Jacob Druckman employed a live trombonist who trades passages w a tape of electronic sounds, eventually being driven off the stage by the ensuing pandemonium, it concludes with the musician returning for an uneasy truce with the tape recorder

Animus I (1966)

This 1967 piece by Pauline Oliveros used multiple tape echo signals

Beautiful Soop

needs of musicians

Moog argued that designers of electronic music instruments should be aware of the

In 1954, Luening and Ussachevsky composed this for tape recorder and orchestra

A poem in Cycles and Bells

ADSR (Attack, Decay, Sustain, Release)

the four stages of the envelope generation are collectively known as this

Oliveros used three different brands of tape recorders to create multiple echo effects simultaneously from the same input signal, exploiting the different distances bt the record and playback heads of the different machines on this piece

Beautiful Soop (1967)

voltage control

Moog became the first synthesizer designer to popularize this technique in analog electronic musical instruments.

a decibel is 1/10 of a

Bel (named after Alexander Graham Bell, who used a logarithmic scale to quantify power losses in long cables) is the logarithm of an electric or acoustic power ratio.

These composers began to explore the tape medium in the Barron studio

Earle Brown (1926-2002), Morton Feldman (1926-87), Christian Wolff (b. 1934), and David Tudor.

this machine was essentially a tape recorder dedicated to the creation of echo (used by rock musicians)

Echoplex

Schaeffer graduated from

Ecole Polytechnique in Paris 1931

Davidovsky was the assistant to this composer at the Columbia studio until 1965

Edgard Varese

The Studio fur Elektronische Musik in Munich was originally organized by this composer to produce a film about the Siemens corporation

Carl Orff (1895-1982)

Here are Xenakis's early computer music pieces

Atrees (law of necessity-1960) for 11 musicians, ST/10 (1962) for 10 musicians, ST/48 (1962) for 48 musicians, and Morsima-Amorsima (1962) for piano, violin, and contrabass

This composer worked at the Columbia-Princeton place at the age of 77

Edgard Varese. He reworked Deserts (1954/1960), one of the first works pairing live instrumentalist with taped sounds in performance.

Ussachevsky made this standard on electronic synthesizers/keyboards bc of his specs he gave to Moog

Attack, Decay, Sustain, and Release. the ADSR envelope

this argentinian composer wrote works such as Promenade (1963) and 2 Times (1963) (both tape music for ballet) while working at GRM studios in Paris

Edgardo Canton (b.1934)

This 1948 piece by Pierre Schaeffer explored the backwards sounds using a turntable

Cinq etudes de bruits: Etude violette

About one minute into this short piece there was a 35 second section consisting primarily of slowly advancing piano notes and chords played in reverse

Cinq etudes de bruits: Etude violette (1948)

The phonautograph was invented by

Edouard-Leon Scott (1817-1879) in 1857.

Davidovsky studied with these composers by 1960

Aaron copland and Milton Babbitt

experimented with Schaeffer with tape music (1922-1992)

Abraham Moles

Philips' Research Laboratories established the Center for Electronic Music in this place

Eindhoven (1956)

This was the first Japanese tape music composition entitled Toraware no Omna (Imprisoned Woman) and Piece B in 1951

Akiyama

In this piece Davidovsky used the purely electronic sound sources of sine waves, square waves, and white noise modified through the use of filters and reverb, then layered five times, inverted, and transposed to change their amplitude and density

Electronic Study No. 1 (1960)

Berio moved here in 1962

America to teach at Mills College and then Juilliard (founded the Juilliard Ensemble which plays contemporary music)

Early works of Davidovsky included

Electronic Study No. 1 (1960) and Electronic Study No. 2 (1962)

Dr. Werner Meyer-Eppler, a German physicist and information theorist, published this in 1949

Elektronische Klangerzeugung: Elektronische Musik und synthetische Sprache

composers from this country played a central role in the development of electronic music in Latin America

Argentina (twice as many active composers of tape music as the second ranking country-Brazil)

this composer established an electronic music studio at Mills College

Ashley

Henry wrote a piece to honor Luigi Russolo which featured intonarumori. The piece was called

Futuriste (1975)

The ILLIAC I was programmed by using

codes punched onto Teletype paper tape

Luening and Ussachevsky visited

GRM studio in Paris, WDR in Cologne

This is considered by the book to probably be the single most important force in bringing the sound of electronic music into the popular music mainstream

BBC Workshop

this an optical reader capable of converting graphic images into tones and volume settings-a gadget that inspired the creation of electronic music from freehand drawings and paintings

Bildabtaster

In the 1950's these famous composers worked on tape pieces at RTF

Boulez, Stockhausen (1928-2007), Marius Constant (1925-2004), Darius Milhaud (1892-1974), and Olivier Messiaen (1908-1992).

After the disbanding of the project of music for magnetic tape

Brown, Feldman, and Wolff returned to experimental music with acoustic instruments, while Cage andTudor continued to work with tape to some extent but also with the application of electronic music in live performance.

Meyer-Eppler worked with this composer for the Darmstadt premiere

Bruno Madera. They wrote Musica su due Dimensioni (music in two dimensions)

PianoBar, a device for capturing sound from a conventional piano and transforming it into MIDI signals that could be further processed

Buchla also collaborated w Moog music in 2004 to develop them

offered great flexibility in the modification of tone color, and provided a way to "program" a series of repeatable sounds using a pattern of repeating control voltages.

Buchla emphasized two aspects of myth design to accommodate the needs of composers. these were that his synth

model 700 with MIDI controls

Buchla introduced this in 1987

Kinesthetic Input Port

Buchla pioneered several early alternatives to organ-style keyboards such as the

The initial Japanese exposure to musique concrete in Paris was

By Toshiro Mayuzumi (1929-1997) who had attended a concert of Schaffer's electronic music while studying in Paris in 1952

this oliveros piece used three tape recorders with one tape threaded through all three to affect the sounds being played of live voices, flutes, trumpets, and organ

C(s) for Once (1966)

This institution was perhaps the best organized and funded institutional studio in Latin America where many Latin American composers learned the ropes

CLAEM (Centro Latinoamericano de Altos Estudios Musicales)

the formlessness and satirization of the performance act in Kagel's electronic works are reminiscent of

Cage's indeterminate work

Fontana mix was named after

Cage's landlady in Milan

to use a combination of tone-generating and modulating devices to build sounds from their component parts.

Cahill's idea was virtually the same as Moog's:

the Helmholtz theory suggested that sound could be analyzed by its component parts and led directly to the engineering of electronic means for synthesizing sound, first in the form of

Cahill's telharmonium

this piece featured the staging a game of catch with two sine wave generator emitting ultrasonic frequency tone outside the range of human hearing. During the game of catch, the signals became sporadically joined, modulating into an audible frequency-the same principle of heterodyning used in the theremin.

Cath Wave (Kosugi)

Theremin made these for Varese's Ecuatorial

Cello theremins

the most important development in Chinese electronic music was the establishment of the

Center of Electroacoustic Music of China in 1993

the exploratory works from these regions suffered for many years from little documentation and a lack of institutional support for the preservation of recordings

Central America, South America, and Cuba

This institution was founded in 1962 by composer Alberto Ginastera (1916-1983)

Centro Latinoamericano de Altos Estudios Musicales (CLAEM) at the Torcuato Di Tella Institute in Buenos Aires

this invention by Raymond Scott was a 3 octave keyboard instrument resembling a small electronic organ. it used the beat frequency principles of the Ondes Martenot and Theremin but had the unique ability to slide notes from key to key at adjustable rates of portamento

Clavivox

more electronic music was released on record from this studio than from any other in North America

Columbia Princeton

Luening and Ussachevsky began this

Columbia Tape Music Center (in 1958 it became the Columbia-Princeton Electronic Music Center)

Otto Luening (1900-1906) and Vladimir Ussachevsky (1911-90)were both music instructors at

Columbia University in NYC

Luening's and Ussachevsky's tape center was eventually housed at

Columbia's music department

With the establishment of this institution in 1958, the world took notice and composers from several countries began to visit the USA to work there

Columbia-Princeton Electronic Music Center

One of the first well-funded North American electronic studios was the

Columbia-Princeton Electronic Music Center in New York

one faithful realization of Studie II was done 52 years after the original (2006) by this German composer with this programming language

Georg Hajdu, Max/MSP for laptop

In 1960 Leonard Bernstein and the NY Phil commissioned this piece by Luening and Ussachevsky

Concerted Piece for tape recorder and symphony orchestra

Hindemith's piece for trautonium

Concertino for Trautonium and String Orchestra (1931)

In 69, Juan Blanco staged this piece at the Garcia Lorca Opera House in Havana

Contrapunto Espacial III

Blanco's late 60's work was more

Cuban. for ex. La Partida Viviente (1967) was a tape piece featuring orchestra, a Cuban-Spanish speaking narrator, and actors.

The first magnetic tape recorder experiments were made by

German Fritz Pfleumer (1881-1945). First commercial model in 1935.

At 13'14" this piece was longer than any previous piece at the Cologne studio

Gesang der Junglinge

This 1957 piece by Gyorgy Ligeti used extensive tape speed variation and backwards sounds

Glissandi

This piece has basic sound material that lasts 3'52" after which at the precise middle of the work, the first half of the piece is played entirely in reverse. The second half also features an overdub of the first half played normally, but highly filtered so that only small particles of the sound were audible

Glissandi (1957)

this 7'44" piece consists of a sequence of rising and falling sine waves, glissandi make up the major tonal material of the piece

Glissandi (1957)

this short work of electronic music by Lygeti used the techniques of tape reversal and variable speed changes as its chief structural guideposts

Glissandi (1957)

This composer mad the background music for the radio dramas of The War of the Worlds (1967) and the Hobbit (1968)

David Cain

This composer worked at the BBC workshop and studied at Imperial college where he earned a degree in mathematics

David Cain (b. 1941)

this composer has been creating electronic music using only feedback circuits for over 20 years

David Lee Myers (b.1949)

this composer has constructed feedback workstations which begins with a complex web of circuits that once set in motion spontaneously interfere with one another

David Lee Myers (b.1949)

this composer monitors and adjusts the process using a variety of audio components, including delays, ring modulation, an envelope generator, reverb, an equalizer/filter, and a mixing panel. the result does not rely on the characteristics of the acoustic space but rather the way in which a multiple of circuit signals interfere with each other

David Lee Myers (b.1949)

Cage's longtime musical collaborators in live electronic music included

David Tudor, Gordon Mumma (b.1935), David Behrman (b. 1937) and Takehisa Kosugi (b. 1938)

This composer was the director of the Columbia-Princeton music center from 1981 to 1993

Davidovsky

An example of a work from the Inter-American of Art was

Davidovsky's Electronic Study No. 3 (Homage a Edgard Varese)

The Beatles discussed a collaboration with this composer when they were first experimenting with tape loops

Delia Derbyshire

This composer created a soundtrack for one of Yoko Ono's films

Delia Derbyshire

This composer used the 12 oscillator unit of BBC workshop to create the Doctor Who theme

Delia Derbyshire

The Million volt sound and Light Rave featured

Derbyshire's tape work and Paul McCartney

Varese worked on this piece in the Columbia Princeton studio in 60-61 with the help of Max Mathews and Bulent Arel

Deserts

this guy has the only commercially produced electronium

Devo member Mark Mothersbaugh, hopes to restore it one day

This 1975 piece by Brian Eno used tape delay with multiple track recorders

Discreet Music

two of the first voltage-controlled synthesizers were produced by these guys

Donald Buchla (b.1937) and Robert Moog

le caine demonstrated the keyboard controlled feature of the tape recorder in his own work

Dripsody (1955) which was based largely on the sound of dripping water transposed to different speeds

This piece was based on a drop of water falling into a bucket

Dripsody, etude for variable-speed tape recorder, Le Caine manipulated the playback speed to create pitches. for many years this was undoubtedly the most often played tape composition in any college music course.

ARP 2500

Elian Radigue has been using this analog synthesizer since the early 1970s and makes use of the instrument's manual controls for mixing waveforms into gradually changing sound textures.

Schaffer and Henry

Eliane Radigue first learned electronic music composition from these guys in Paris but her affinity for music consisting of slowly unraveling processes is distinct from musique concrete in which tape manipulation and editing are such important elements.

Babbitt finished pieces with the Mark II such as

Ensembles for Synthesizer (1961-1963), Philomel (1963-64) for soprano, recorded soprano, and synthesized accomp., and Composition for Synthesizer (1964)

this guy, along with Raymond Scott, was the most sought after composers for radio/tv

Eric Siday

This studio was founded in 1958 at the University of Buenos Aires by composers Francisco Kropfl (b.1931) and Fausto Maranca

Estudio de Fonologia Musical

Stockhausen became keenly aware of the molecular level of sound during work on his tape piece entitled

Etude

On october 5, 1948 Schaeffer premiered

Etudes de bruits (studies of noise)

The emergence of Japanese electronic music onto the world stage was greatly furthered by works commissioned for

Expo '70, the World's Fair at Osaka in 70

El-Dabh's final piece of the Zaar ceremony was called the

Expression of Zaar (1944), which was premiered in a Cairo art gallery.

the first piece of electronic music for magnetic tape composed in America was most likely a little work call

Heavenly Menagerie by Lousic (1920-1989) and Bebe Barron (1927-2008)

Kosugi, Tone, and Yoko Ono (b.1933) became associated with this loose collective of experimental artists from many culture spawned by the teaching work of John Cage at New York's New School for Social Research (1957-59)

Fluxus

when one can measure and control the components of a sound this is called

Fourier analysis

combining simpler waves (e.g. sine waves) into more complex waves is called

Fourier or additive synthesis

El-Dabh influenced many, namely

Frank Zappa

The engineer at NWDR was

Fritz Enkel (1908-1959)

In 1947, at the age of 12, this composer took apart his father's record player, and rebuilt it so it could play both ways and change speed

Gordon Mumma

This composer worked with many Latin american artists in the 60s and wrote an article in 86 that documented this

Gordon Mumma

These electronic musicians found their own tape music studio in Ann Arbor, Michigan in 1958

Gordon Mumma (b.1935) and Robert Ashley (b.1930)

In 1887 Emile Berliner (1851-1929) invented the

Gramophone. consisted of glass discs coated with a thick fluid of ink or paint.

He taught at Italian Conservatory of Music in florence. taught on of the first university courses in electronic music.

Grossi. experimented with computer music as early as 1967

Kosugi helped co found this group, with Toshi Ichiyanagi, Yasunao Tone (b.1935), and Yuji Takahashi (b.1938) which was an avant garde performing group

Group Ongaku

this argentinian composer, now better known as a clarinetist, alto sax player, and bandleader, wrote pieces that featured amplified sounds of resonating objects, acoustic instruments, voices, and noises which were reminiscent of musique concrete

Guillermo Gregorio (b.1941)

After reportedly heading a radio concert of Stockhausen's Gesang der Junglinge (1956) this composer started a correspondence with Stockhausen that led to an invitation to WDR in 1957

Gyorgy Ligeti

He arrived in the United States in 1950 to study with Ernst Krenek and was also tutored by Aaron Copland

Halim El-Dabh

one of the most influential composers of the early years of the Columbia-Princeton studio bc they worked there from 59-61 was

Halim El-Dabh

These composers were featured at the first two public performances (1961) of the Columbia-Princeton place

Halim El-Dabh (Egypt), Bulent Arerl (Turkey), Mario Davidovsky (Argentina), Luening, Ussachevsky, Babbitt, and Wuorinen (all US)

this German engineer developed many electronic instruments and components found in the first European studios, developed a voltage controlled amplifier in 1959

Harald Bode

Two of Theremin's biggest collaborations were with

Henry Cowell and Edgard Varese

The tape center moved here for a couple weeks while Luening and Ussachevsky worked for a Leopold Stokowski concert at the MoMA in Manhattan

Henry Cowell's cottage in Shady, NY

This argentianian composer completed works like Dos Studios en Oposicion (1959) at the RAI in Milan

Hilda Dianda (b. 1925)

this guys invention was designed to analyze and reproduce the sound of the human voice, generated control voltages to shape the envelope and amplification of the input signal it was analyzing

Homer Dudley's vocoder (1939)

This was the composer who organized the Third Inter-American Biennial and found the electronic music studio at the College of Fine Arts of the University of Cordoba

Horacio Vaggione (b. 1943)

This composer made a music groups with guitarist Derek Bailey and saxophonist Evan Parker called Music Improvisation Company

Hugh Davies

This younger British composer studied and worked with Karlheinz Stockhausen in Germany from 1964 to 1966

Hugh Davies (1943-2005)

This Canadian physicist invented an early voltage controlled synthesizer nearly 20 years before similar tech was made by Moog and Buchla

Hugh Le Caine

This guy only completed a dozen or so tape pieces and so didn't consider himself a serious composer but he did compose one of the most famous musique concrete pieces (Dripsody- two minutes, mono-1955, stereo-1957)

Hugh Le Caine

as opposed to Raymond Scott this inventor was a product of academia and made his work known as a matter of course

Hugh Le Caine

even though this inventors inventions weren't mass marketed like Moogs, his influence was big bc his ideas and equipment were used every day at University of Toronto and McGill Uni

Hugh Le Caine

in 1955 this guy invented a machine that mixed six separate but synchornized tapes down to one track

Hugh Le Caine

robert Moog called this guy a "profound influence" on his work

Hugh Le Caine

this guy devised innovative audio processing and synthesizing gear for 20 years and "single-handedly equipped the electronic music studios at the University of Toronto (opened in 54) and at McGill University in Montreal (opened in 64)

Hugh Le Caine

Pauline Oliveros studied with this guy for two months in 1966 and realized that her techniques were well supported by his setup

Hugh Le Caine (University of Toronto)

this guy was employed full time in 1954 by Canada's National Research Center to work on his electronic music inventions

Hugh Le Caine (privileged position seldom afforded to an engineer of music tech in any country)

this 1969 Alvin Lucier piece explored the degeneration of magnetic tape sounds

I am sitting in a room

the crowning achievement in the use of tape degeneration in electronic music was

I am sitting in a room (1970) by Alvin Lucier

Cage used this book for his random number sequences

I ching (Book of Changes)

This 1966 piece by Pauline Oliveros combined multiple tape delay system with the gradual degeneration of the audio signal

I of IV

this Oliveros work can be credited with seeding the musical world with the idea of tape delay, and inspired composers like Brian Eno (Discreet Music) and Robert Fripp (guitar player)

I of IV (recording released in 67)

this Oliveros piece made extensive use of accumulative tape delay and degeneration of the repeating signal

I ov IV (1966)

Hiller upgraded to this machine in 1962 (while still at the University of Illinois)

IBM 7094 and was working with a music program called MUSICOMP

Heller and Isaacson worked on this computer early on

ILLIAC I (Illinois automatic computer) which was at Univ. of Illinois, an early mainframe computer built in 52, and the first such device owned entirely by an educational institution.

In 1956 this composer experimented with writing computer programs that also used probability factor to aid in the composition of music

Iannis Xenakis

the first result of Hiller and Isaacson's efforts was the score for the

Illiac Suite for String Quartet (57), the first fully developed pieces of music composed with the aid of a computers

development of electronic musical instruments from analog systems to digital systems and software

In its earliest incarnation, MIDI was a digital technology attached to analog instrumentation, signifying a transition in the

trigger sounds and patterns on the connected instruments

In the connection of standalone electronic musical instruments to PC, the computer is used to

a sound in which this is done makes it difficult to associate a tone with a specific note

a more complex set of harmonics, maybe where all harmonics are equal.

Blanco's pieces from 61-64 were evident of influence from outside music such as his

Interludio con Maquinas (1963-Industrial noise and machinery rhythms), Ensample V and VI, 1963 which was an electronically treated recording of prepared piano. Also did studies of pure electronic tones.

this piece by Morton Feldman (1953) used leader tape to add patches of silence required by his piece

Intersection

morton Feldman used leader tape to space the sequence of sounds that he prerecorded for assembling this piece

Intersection (1953)

This 1952 piece by Otto Luening used tape echo

Invention in 12 tones

Luening mixed this piece using the far superior collection of tape recorders at the Union Theological Seminary in NY

Invention in Twelve Tones (1952)

This composer was born in Belgium and relocated to Colombia with her family

Jacqueline Nova (Sondag) (1935-1975)

In 1947 Schaeffer paired with audio engineer

Jacques Poullin

Schaffer's audio engineer who sketched a visual representation of sound objects in more traditional musical notation

Jacques Poullin

Hiller helped train other composers in using computers for making music such as

James Tenney, a prominent researcher and composer at Bell Labs during the 1960s

institutional sponsorship enabled composers to experiment with the latest audio recording and processing equipment in this country

Japan

the development of tape music in this country also marked the beginning of the nation's fascination with electronic instrumentation and the eventual domination of the nation's industry in the development of music synthesizers and other music tech

Japan

Sony developed this in 1950

Japan's first magnetic tape recorder, known as the G-Type for "government unit" used for depositions and such

These are two more practitioners who have recently devoted much work to feedback circuits and live performance

Japanese composer Toshimaru Nakamura (b.1962) and Netherlands' Marko Ciciliani (b.1970)

this french mathematician and physicist developed a theory of wave physics during the early 19th cent. that allowed for the scientific analysis of musical sound

Jean Baptiste Fourier (1768-1830)

other composers who used speech sounds as source material (right after Berio) were

Jean Baronnet/Francoise Dufrene (U 47-1960) and Henri Pousseur (Trois visages de Liege- 1961)

Kosugi was more influenced by this composer so he broke away from the German influence and even from Jikken Kobo

Joh Cage

After Daphne Oram left the BBC workshop he took over

John Baker (1937-1997) who studied at the Royal Academy of Music

"I was at a concert of electronic music in Cologne (1952) and I noticed that, even though it was the most recent electronic music, the audience was falling asleep...That was because the music was coming out of loudspeakers" quote from

John Cage

The Barrons met this composer at a monthly gathering of the Artists' Club on 8th Street in NYC, where participants took turns explaining their work and projects to others

John Cage

a display of Japanese use of local influence was 1961's Aoi No Ue, a title borrowed from a 15th century Noh play

Joji Yuasa's work

This composer is credited with the first entirely electronic music by a Brazilian composer with his 1962 Valsa Sideral

Jorge Antunes

this Brazilian composer had, by 1961, built a sawtooth oscillator, a spring-reverb device, a frequency filter, and a Theremin

Jorge Antunes

Carvalho recruited this young electronic music composer to advance the practice of electronic music and multimedia art

Jorge Antunes (b.1942)

This Philippine composer worked at GRM in 58-59 and composed his ethnomusicology to create novel pieces such as Cassette 100 (1971) for 100 audience members and cassette players and Ugnayan (1974) where he had DJs play different ethic Philippine music that listeners manipulated with portable radios (musique concrete)

Jose Maceda (1917-2004)

Siemens lab hired this composer to serve as artistic director and conductor of music projects because of his familiarity with the development of music for films

Josef Anton Riedl (b.1929)

he was a seminal figure in cuban avant-garde music

Juan Blanco

this cuban composer conceived the idea of an automated sound storage and playback instrument-conceptually much like the Mellotron-in 1942, prior to the practical means for creating such an instrument existed

Juan Blanco

This Swedish composer spent two years developing his science fiction opera Aniara (1956) which included portions of tape music produced with the help of the electronic music studios of Swedish Radio

Karl-Birger Blomdahl (1916-1968)

Whereas much of the earliest Japanese electronic music was formed around Western musical ideas, this composers work consistently embodied Japanese sensibilities toward a unity of time, space, and physicality of being

Kosugi

Innovations to the telegraphone were made by German

Kurt Stille (1873-1957) who replaced steel wire with steel tape.

Scheffer produced an eight-part radio opera series called

La Coquille a planetes

A government-sponsored studio that is part of the Buenos Aires Recoleta Cultural Center that is still active today

Laboratorio de Investigation y Produccion Musical (LIPM)

One of Jacqueline Nova's last works was a sound installation with a modern sculptor

Las Camas, artist was Feliza Bursztyn

This 1950-52 piece by Pierre Henry used reverberation

Le Microphone bien tempere

the method of coding the paper tape was more user-friendly on the Siemens machine than the

RCA punched paper reader and allowed the composer to play a note on a piano style keyboard before recording it as a hole on the paper tape

El Dabh was paid tribute by the song

Leiyla (1967) by the LA based rock band the West Coast Pop Art Experimental Band, two members of which were the sons of composer Roy Harris

before El-Dabh soon moved on from the studio to begin a long and distinguished career as an ethnomusicologist and composer, this early tape piece became something of a cult favorite with the up and coming composers who heard it on a recording released in 64

Leiyla and the Poet (61)

early experiments with computer music included work by

Lejarn Hiller (1924-94) at the University of Illinois and his collaborator, Leonard Isaacson, a mathematician with the Standard Oil Company

The theremin was invented around 1920 by

Leo Theremin (1896-1993), first gesture controlled instrument

Takemitsu said this about this piece "I thought it was quite different from what I had imagined...I had the same impression of Schaffer's works long after"

Les Oeuvres pour musique concrete x, y, z (1953)

Mayuzumi completed this after her return from Paris

Les Oeuvres pour musique concrete x, y, z (1953) which had great exposure due to the public broadcast by JOQR (Nippon Cultural Broadcasting)

this guitarist beat Ray Scott to the multitrack punch but his method only involved recording from one monophonic tape recorder to another while playing along in real time

Les Paul (1915-2009)

Beautiful Soop used fragment of this verse recited by several people w synthesized tones, creating a dialog bt the spoken word and synthetically produced music

Lewis Carroll

This composer is known for his highly organized and mathematical approach to composition

Ligeti

This composers experience in cologne made such an impression on them that their work is often described as a composer who brought the textures of electronic music to works for orchestra.

Ligeti

Although this work did not embody the fully formed serialism of Stockhausen's Studie I and Studie II, it is clear that the composer gave much though to its structural plan

Ligeti's Glissandi

In 1974 this composer finished the work Relativity as a guest at the BBC workshop

Lily Greenham

This was a Danish-born poet and artist who explored the possibilities of combining poetry and electronic sound modification (at the BBC workshop)

Lily Greenham (1924-2001)

never set foot in the studio while he was there. he even took a lab course led by Peter Mauzey, the lead engineer of the center.

Moog studied engineering at Columbia during the late 50s during the same period that the Columbia-Princeton Music Center was open but

The availability of this at Columbia attracted a lot of composers to experiment with electronic music

RCA synthesizer

in new york Otto Luening used echo as a structural element that modified the sound of the flute in such pieces as

Low Speed (1952) and Invention in 12 tones (1952)

Schaeffer eventually brought in great composers into RTF like

Luc Ferrari (1929-2005), Iannis Xenakis (1922-2001), and Varese

The two men at the head of RAI were

Luciano Berio (1925-2003) and Bruno Maderna (1920-1973)

Eric Siday, a New York composer of music for radio and tv commercials and a competitor of Raymond Scott

Moog's first makeshift modular system was purchased by

standalone electronic musical instruments and permit one instrument to control the sounds being made on several others

MIDI can connect

to a PC

MIDI can connect standalone electronic music instruments to a

software-based synthesizers that do not exist as standalone performance synthesizers or outside of the laptop computer

MIDI is also used to manage and control

This japanese composer visited Cologne in 1955 to view the German studio first-hand

Makato Moroi (b.1930)

Raymond Scott formed this company for his commercial electronic music

Manhattan Research Inc. Made electronic doorbells, electronic music box, and three models of an instrument he called the Electronium

this composer who was the son of a mathematician and advocate of serial composition found a perfect tool for his total serialization in this machine

Mark II

this machine is most closely associated with the output of the Columbia-Princeton Electronic Music Center

Mark II (actively used throughout the 1960s)

In 1956 these two computer engineers at the Burroughs Corporation programmed a Datatron computer to automatically compose popular songs

Martin L. Klein, and Douglas Bolitho

late 50's experiments with the Mark II include these pieces

Mathematics (1957) by Luening/Ussachevsky and Linear Contrasts (1958) by Ussachevsky

In 1957, this young composer was persuaded by Pierre Boulez to study in Cologne

Mauricio Kagel

This latin american composer did some early music with turntables like Schaeffer

Mauricio Kagel

credited with having produced the first works of electronic music in south america between 1950-53

Mauricio Kagel

One of the most influential Argentinian composers of experimental music was

Mauricio Kagel (1931-2008)

these are the most well known argentinian composers of electronic music

Mauricio Kagel and Mario Davidovsky

The studio fur Elektronische Musik hosted composers such as

Mauricio Kagel, Gyorgy Ligeti, and Iannis Xenakis

this composer incorporated Japanese elements in his Campanology (1959), which combined the resonant sounds of Asian temple bells, recorded at temples in Japan, and Western church bells with electronic tones to produce synthetically complex melodies.

Mayuzumi

Stockhausen, in 1952, was in Paris studying with

Messiaen

the Columbia Princeton music center sponsored many internationals such as

Michiko Toyoma (b.1913) from Japan, Mario Davidosky from Argentine, Halim El-Dabh (b.1921), and Bulent Arel (1919-1990) from Turkey

Which composer used the theremin in Hitchcock's spellbound (1945)

Miklos Rozsa (played by a foot doctor who received theremin to make payment on a debt, he got a union card and then was part of the academy award winning score)

The combination of punched paper reader and multitrack recording made the RCA synthesizer ideally suited to this composers 12 tone experiments

Milton Babbitt

Working closely with RCA, this composer succeeded in having the disc lathe replaced with a multitrack tape recording system in 1959

Milton Babbitt

this composer was prob. the last serious advocate of the RCA synthesizer, and still favored it for electronic works as late as 1972

Milton Babbitt

Luening and Ussachevsky partnered with this Princeton professor to lobby for some time on the RCA synthesizer

Milton Babbitt (1916-2011)

This sculptor created the space theater where Mumma and Ashley formed a working relationship

Milton Cohen (started in 57)

Italian composer Luigi Nono invited these people to perform during the annual Venice Biennale performing arts festival (64)

Milton cohen and space theater

this japanese composer wrote in 1949 that "we will be able to synthesize any kind of sound waves with the instrument."

Minao Shibata (1916-1996)

Jean-Michel jarre prefers

Monark to voyager

Peter Mauzey was this guys instructor when this guy studied engineering at Columbia in the 50s. Ussachevsky would give this same guy the specs for the construction of a voltage controlled envelope generator

Moog

This was a notable work by Charles Amirkhanian which relied on tape recorder

Mugic (1973). He threaded a single reel of magnetic tape through the reccord and playback heads of three tape recorders

this composer join Cage and Tudor from 66-74 to produce music for the Merce Cunningham Dance company

Mumma

the only commercially available music of space theater at the time was

Mumma's Music from the Venezia Space Theater (64)

This 1963 piece by Terry Riley was one of the first uses of tape delay with multiple tape recorders

Music for the Gift

This was Kagel's music installation in Buenos Aires that lasts nearly 110 minutes which combined lighting effects with a backdrop of electroacoustic music on tape projected from a tower

Musica para la Torre (Tower Music)

this was the first stereophonic piece composed at the NHK studio

Musique Concrete for Stereophonic Broadcast (1955) by Shibata

The Moma concert of Luening and Ussachevsky allowed them exposure to get picked up by a live appearance on

NBC's Today Show

by the mid 1950's this studio was one of the world's leading electronic facilities

NHK

Le Caine took advantage of his Touch Sensitive Organ in his own tape compostion

Ninety-Nine generators (1957)

This company translated a handbook from the NWDR Cologne studio into Japanese

Nippon Host Kyokai (NHK, Japanese Broadcasting Corporation)

The Barrons were both influenced by mathematician

Norbert Weiner's book, Cybernetic: or, control and communication in the animal and the machine (1948)

Eimert, Meyer-Eppler, and sound engineer Robert Beyer (1901-1989) formed

Northwest German Broadcasting (NWDR), eventually became WDR

most successful offspring of the theremin was the French-made

Ondes Martenot (originally called Ondes musicales- musical waves). designed by Maurice Martenot (1898-1980)

equipment in the original NHK studio included

Ondes martenot, Monochord (sawtooth wave generator), and Melochord, sixtepped and three continuously variable sine wave oscillators, two tape recorders, two ring modulators, thirty-two band-pass filters, and two mixers (8 and 4 channel).

much of the fluxus music was task oriented like cut a hole in a bag filled with seeds of any kind and place the bag where there is wind which was by

Ono 1961`

Jacqueline Nova's most noted works are

Oposicion-fusion (68) for electronic sounds; Espacios (69), a stage work for taped sounds, light projections, voice and movement; LM-A 11(69), combining tape with strings, voices, and percussion; and Creacion de la Tierra (69), comprising only electronically modified and edited voices.

Daphne Oram invented the

Oramics machine. She composed things for it but it was too complicated for mass acceptance, and was overtaken by things like the moog

hindemith's student who helped with construction of trautoniums

Oskar Sala

this Indonesian composer made Kemelut (1979) which combined the sounds of water and electronic music

Otto Sidharta (b. 1955)

by 1969 this was much less used and was all but supplanted by four similarly equipped studios featuring Buchla synthesiers, individual wave generators, four track and two track tape recorders, and a central mixing console

RCA synthesizer

the CPEMC is still inspiration although the

RCA synthesizer is no longer operable and has been turned into a museum display

this machine weighed about 3 tons, stood 7 ft. tall, was 20 ft. long, contained 1,700 vacuum tubes, and was the centerpiece of the studio in which it was housed

RCA Mark II Electronic Music Synthesizer

Emil Richards

Paul Beaver played moog and clarinet on this vibraphonists album called Stones (67)

Hal Blaine

Paul Beaver was recruited to play on this percussionists spacey Psychedelic Percussion album (67). he played moog and the "beaver electronics system"

the trautonium was invented with the composer

Paul Hindemith (1895-1963)

during the 1950s the best executed design of a complete music synthesizer from the age of vacuum tubes was the

RCA Mark II Electronic Music Synthesizer housed at the Columbia-Princeton Electronic Music Center from 1958

RCA let the Columbia-Princeton electronic music center rent this, and then permanently loaned them this

RCA then RCA Mark II

this guy was the lead technician of the CPEMC

Peter Mauzey

A classically trained composer (born 1927) who co-created musique concrete

Pierre Henry

He was the most consistently accomplished and prolific composer associated with RTF Studio

Pierre Henry

A radio engineer, broadcaster, writer, and biographer (1910-1995) who co-created musique concrete

Pierre Schaeffer

In Paris composers became immersed in the pedagogy of

Pierre Schaeffer (GRM-musique concrete)

Carvalho studied composition in Paris and worked for a short time under

Pierre Schaeffer at the GRM, learning the techniques of musique concrete

Respighi used a turntable in

Pines of Rome (1924‚ for nightingale effect.)

Stockhausen experimented with spatial projections ten years before

Pink floyd, the beatles, and hendrix

setup process for small setup for marching band pit

Plug in power supply to synthesizer and amplifier Plug in .25" instrument cables to main output of synthesizer (left and right) Plug in .25" instrument cables to input of keyboard amplifier (left and right) Check volume on synthesizer, channel on amplifier, and amp main volume Power on synthesizer and amplifier Ready to go!

this voltage controlled instrument was built for the McGill University Electronic Music Studio by Le Caine in 1970

Polyphone Synthesizer. it was fully polyphonic a feature that other makers of voltage-controlled synthesizers would not introduce for several more years.

Olson and Belar, through their composition machine, did much to advance their understanding electronic composition and led directly to the invention of the

RCA Electronic Music Synthesizer

Difference between RTF and NWDR

RTF processed sounds while NWDR was interested in the physics of producing the sounds.

in 1955 this third state-sponsored studio for research and production of electronic music was founded in Milan

Radio Audizioni Italiane (RAI)

he was a commercial musician and inventor of electronic musical instruments who was under the radar bc he was private rather than institutional

Raymond Scott

this composer/bandleader made enough by the late 40s to buy a big home on Long Island where he had 8 rooms devoted to his electronic experiments. he had a professionally outfitted machine shop

Raymond Scott

this guy invented two of the earliest multitrack magnetic tape recorders. could record 7 and 14 tracks on a single reel of tape using multiple tape heads.

Raymond Scott

this guy was mainly a bandleader before his electronic, commercial music, and his music was used in cartoons by the legendary Warner Brothers music director Carl Stalling (1888-1974) during the 40s and 50s

Raymond Scott

this private electronic musician was the composer/electronic architect of a myriad of jingles, special effects, mood pieces, and other commercial electronic music

Raymond Scott

this piece has a level of amplification that is set very high at the point of feedback for the given audio space and the performer delivers a set of vocal patterns while keeping the mouth in very close proximity to the mic

Robert Ashley's The Wolfman (1964)

this piece manipulates feedback intentionally through the clever performing technique requiring little equipment other than a microphone, amplifier, tape recorder, and speaker system

Robert Ashley's The Wolfman (1964)

this was said about this piece " the bottleneck in that loop is the microphone so that by treating the resonant cavity right in front of the mic, you actually create a model of the the room in the size of the vocal cavity. it's a very simple principle. the room just keeps moving around and changing shape because of the way you shape your mouth."

Robert Ashley's The Wolfman (1964)

In 1966 this composer was named director of the Conservatorio Nacional de Canto Orfeonico (National Conservatory of Choral Singing) in Rio and established the Villa Lobos institute for exploring new music

Reginaldo Carvalho

this brazilian composer wrote Sibemol (1956) in his Rio private studio, called the Studio de Experiencias Musicas

Reginaldo Carvalho

Brazilian electronic music began with

Reginaldo Carvalho (b.1932)

Pendulum Music

Reich said about this "it's the ultimate process piece. it's me making my peace with Cage. It's audible sculpture. if it's done right, it's kind of funny.

Jacqueline Nova completed this piece in 68

Resonancias 1 for prepared piano and electronic sonorities

this composer worked continuously in Siemens studio bt 60-66 and produced no fewer than 44 works, many for motion pictures and industrial films

Riedl

medium setup for marching band pit

Road Ready 16U Vertical 11U Slant Rack $500 Yamaha 16 channel mixer MG166CX $430 Furman Power Conditioner $150 (4) Audio-Technica ATW-3110 Wireless Systems $1600 (4) Audio-Technica AT831C Cardioid Condenser Lav. Microphones $400 Audio-Technica Diversity UHF Antenna Distribution System $600 Yamaha Q2031B Dual Channel 1/3 octave equalizer $630 dbx Stereo Compressor/Limiter $250 Reverb Processor (included with MG166CX Mixer) Yamaha P5000S power amplifier $629 (2) Yamaha S115V 15" 2-way loiudspeakers $369 ea (2) On Stage Stands Speaker Stands $100 Yamaha Motif-Rack XS Rackmountable Synth Module $1300 M-Audio Keystation Pro 88 Midi Controller $400 Planet Waves XLR, Instrument, and SpeakOn Cable Package $1000

this composer, who was half of the Cooperative Studio for electronic music, was born in Ann Arbor, Michigan, and was educated at UM and Manhattan School of Music

Robert Ashley

other studios that opened by private funding in Italy after milan were

S 2F M studio in Florence (Pietro Grossi-1963), Studio di Musica Elettronica di Torino (SMET) in Turin (Enore Zaffiri b.1928- 1964), and Nuove Proposte Sonore (NPS) Teresa Rampazzi (1914-2001- 1964)

this was released by Le Caine in 1971 but was met with little success in a market saturated with more visible synthesizers such as the Moog etc

Sackbut Synthesizer

this was a private cooperative in the USA comparable to the Ann Arbor scene

San Francisco Tape Center

This Indonesian composer combines his experience w gamelan and electronic music

Sapto Raharjo (1955-2009)

Hindemith, Toch, and Cage composed for the turntable medium but this person gets the credit for laying the foundation for electronic music composition

Schaeffer

Juan blanco read this book (basically his only education on this topic)

Schaffer's A la recherche d'une musique concrete

A variety of polyphonic synthesizers became available in the mid 1970s and several ended up in the BBC workshop. These included:

Sequential Circuits Prophet 5, Oberheim OBX8, and several Yamaha keyboards including the CS15 and CS40M

the culmination of the early period of development of Japanese electronic music is considered by some to be the completion of

Shichi no Variation (7 variations- 1956) by Moroi and Mayuzumi

In 1955 when Olson and Belar were unveiling the Mark I this electronics manufacturer was establishing an audio labratory in its Munich facilities to produce electronic music for its promotional films

Siemens

these composers visited this studio to do work: Pierre Boulez, Herbert Brun, Ernst Krenek, Karlheinz Stockhausen, Bruno Maderna, Henri Pousseur, Mauricio Kagel, Werner Meyer-Eppler, Abraham Moles

Siemens Studio fur Elektonische Musik

this studio was completed in 1959 and included tape editing stations and a master mixing console

Siemens Studio fur Elektonische Musik

Helmut Klein had previously worked on the development of this

Siemens vocoder- a voice synthesis system used to mimic the human voice based on earlier patents at Bell Labs

This Indonesian composer worked at GRM w Schaeffer in 1963 and produced electronic music for the ballet Latigrak which premiered in Paris

Slamet Sjukur (b.1935)

This was another Le Caine instrument dedicated to controlling a large number of sine wave generators

Sonde (1968). 200 signals available. stood four feet high and two feet wide, giving it a much smaller footprint than Le Caine's earlier oscillator banks.

this space produce live multimedia performances twice a week for seven years (1957-1964)

Space Theater

this was a loft converted by architect Harold Borkin (b.1934)

Space Theater

Le Caine's early version of a tape recorder capable of recording and mixing multiple individual tracks was called this by him

Special purpose tape recorder (1955-67), aka multi-track

It was no surprise that this composer visited Japan in 66 to create a new kind of electronic music using the excellent facilities of NHK

Stockhausen

as opposed to this composers sine waves which were colored, Babbitt's works were stripped of such emotional content as anticipation, resolve, and acoustically familiar reverberations

Stockhausen

additive synthesis

Stockhausen's first experiments with sine wave generators began as exercises in

Kagel's Transicions are similar in effect to some of

Stockhausen's instrumental pieces of the same period, but radically different from the German's evolving approach to tape composition

These composers pushed the technical limits of the NWDR in the 50's

Stockhausen, Pousseur, Ligeti, Cardew, and Kagel

On Luening and Schaeffer's trip to Europe this composer decided against letting them look over his shoulder while he worked

Stockhausen. Stockhausen said any fool could make electronic music, it was just a matter of knowing the electrical permutations and algorithms.

babbitt recalled that this composer nearly "had a heart attack" in columbia princeton bc he was so excited

Stravinsky

the first pieces at the NHK studio (completed by Mayuzumi) were influenced by Karlheinz Stockhausen and were

Studie I: Music for Sine Wave by Proportion of Prime Number (1955), Music for Modulated Wave by Proportion of Prime Number (1955), and Invention for Square Wave and Sawtooth Wave (1955).

stockhausen developed a graphical score for this piece that used gemoetric shapes representing pitch and dynamic components of the sine waves used to create the piece

Studie II

A well equipped European electronic music studio established by the Siemens corporation in 1956 was the

Studio fur Elektronische Musik

sell more than a million copies (platinum)

Switched on bach became the first classical album to ever

In C by Terry Riley and Rock and other four letter words (free jazz and psychedelic mixed w interviews w rockers)

Switched on bach was released by Columbia alongside these recordings. it was not expected to move to much as far as sales

the first collaboration between Schaeffer and Henry produced

Symphonie pour homme seul (1949-1950)

This piece was awarded the Pulitzer Prize in 1971 to Davidovsky

Synchronisms 6 (1970) for piano and electronic sound

This was a series of pieces that Davidovsky composed from 1962-2006

Synchronisms. for live instrumentalist and accompanying taped sounds.

This composer was trained as a violinist, and graduated from the Tokyo University of Arts in 1962

Takehisa Kosugi

The work of this composer represented a transition from the tape music studio of the 1950s to live, improvised, and experimental composition that took shape in the 1960s

Takehisa Kosugi (b.1938)

sony hired this composer on a part time basis to compose music on tape

Takemitsu

The Jikken Kobo included artists such as

Takemitsu, Kuniharu Akiyama (1926-96), Joji Yuasa (b. 1929), Kazuo Satoh (b.1926), Hiroyoshi Suzuki (b.1931), and Takahiro Sonoda (1928-2004)

these were the composers involved with the early Chinese electronic music

Tan Dun, Zhu Shi-rui, and Zhou Long

In 1898 the Dane Valdemar Poulsen (1869-1942) invented the

Telegraphone. It was the first magnetic recorder and lead to magnetic tape recorders. Recorded sound on an uncoated steel wire. Envisioned it as dictation machine. Earphones were necessary because no amplifiers at this time.

Stockhausen created this over 4months in the NHK studio

Telemusik (1966)

two composers active at the San Francisco Tape Center

Terry Riley (b.1935) and Pauline Oliveros (b.1932)

Theremin lived near

The Rosen's. While he lived there he invented the Rhythmicon (early drum machine for Cowell), keyboard theremin, primitive synthesizer, and the terpistone (platform that triggered the sounds of the theremin when danced upon, also coordinated with lights)

The only surving piece from the Neue Musik festival is

Toch's piece Fuge auf der Geopgraphi for choir

enter interval time values governing the rate of pulses, from .001 to 120 seconds for up to 16 individual control voltages in a sequence

The multiple arbitrary function generator on the Buchla 200 allowed the composer to

this first trait of electronic music is on display in these works:

Thema-Omaggio a Joyce (Serio combined voices), Wendy Carlos's Luna (1984) changed timbre from violin to clarinet to trumpet then cello, and Beauty in the Beast (1986)which made instrumental timbres that don't exist.

before reel to reel tape recorders electronic music was performed on

Theremin, Ondes Martenot, or turntable

an example of Latin America bringing the electronic world was the

Third Inter-American Biennial of Art in Cordoba, Argentina in October 1966

Pendulum Music (1968)

This piece by Steve Reich (b. 1936) arrived at this work by manipulating the acoustic properties of a swinging sound wave field.

this piece composed later in the life of the RCA synthesizer by Charles Wuorinen (b.1938) was the first electronic work to win the Pulitzer Prize for music

Time's Encomium (1969-1969)

this was the company that created the technological means for creating electronic music in Japan, a firm founded by engineer Masaru Iburka and physicist Akio Morita in 1946 to manufacture telephones and amplified megaphones

Tokyo Tsushin Kogyo KK (Tokyo Telecommunications Engineering Corporation). This would become Sony

The evolution of Japanese electronic music coincided with the establishment of studios at

Tokyo University of Fine Art and Music (1966), The College of Art and Technology of Kyushu (1967), Osaka Art University (1969), Aichi Prefectural Art University (1971), Tokyo Gakugei University (1972), and the Kunitachi College of Music (1974)

This Japanese composer produced Parallel Music (1962) which displayed chance music

Toshi Ichiyanagi (b.1933)

these two composers use the so called "no-input mixer" an audio mixer wired such that its output is connected to its own input: no external signals are introduced

Toshimaru Nakamura and Marko Ciciliani

Kagel's stature as a significant composer of electronic music was established in 1957 with

Transicion I for electronic sounds (1958) and Transicion II (1958-59) for piano, percussion, and two tapes

The Million volt sound and Light Rave was this

UK's early electronic music festivals

Mumma and Ashley (Cooperative studio for electronic music) met in this composition seminar

UM's Ross Lee Finney's seminar

Robert Ashley, who was half of the Cooperative Studio for electronic music, worked here for three years

UM's Speech research lab, where he could get access to the latest acoustic technology

Thema-Omaggio a Joyce (1958) uses passages of

Ullyses (chapter 11) read by Berio's wife Cathy Berberian (1925-1983) who was a mezzo soprano. It is read in English, Italian, and French.

I of IV was made in July 1966 at this place

University of Toronto Electronic Music Studio, produced in real time, without edits

after the tape center was with Cowell it moved to

Ussachevsky's living room, and then the sound studio in the basement of conductor Arturo Toscanini's Riverdale home.

The only composers to explore turntabalism after Hindemith and Toch were

Varese (multiple turntables at different speeds) and John Cage (Imaginary Lnadscapr No. 1-1939)

Gesang der Jünglinge was begun three years before

Varese completed poems electronique

What was another tape music and orchestra piece in 1954

Varese's Deserts

wendy Carlos' wrote this for flutist accompanied by magnetic tape

Variations for Flute and Electronic Sound (1964)

Berio's final tape piece for RAI was

Visage (1961). It clocks in at 21'4'' and also uses Cathy Berberian speaking. She says the word parole which means word in English.

In 1953 Schaeffer and Henry produced

Voile d'Orphee, a "concrete opera". It involved sweeping electronic tones, distorted human voices, and a live orchestra. It caused a stir at the annual Donaueschingen Festival.

Bebe baron studied music with

Wallingford Rieger and Henry cowell

Fontana mix was used in other pieces like

Water Walk (1959), Sounds of Venice (1959), and Theater Piece (1960)

The WDR was interested in furthering the style of

Webern (Serialism/12 tone music)

this graduate student at Columbia ran tape machines for the premiere of Babbitt's Philomel in 64

Wendy Carlos

purchase additional synth components

Wendy Carlos bartered her time and skills with Moog to

Tron (82)

Wendy Carlos is forever linked with Moog and analog synthesis even though she gave this up when she worked on this move soundtrack (moving into digital synthesis)

Robert Moog

Wendy Carlos sensed this person was an attentive inventor and had the potential to simplify the entire process of creating electronic music

RCA Mark II

Wendy Carlos, along w other composers working at Columbia Princeton, did not like and did not use the

8 track tape recorder

Wendy carlos constructed her own one inch one of these even though the Beatles were only using 4 track in 67

Rampazzi's slow transformations are not unlike this composer (e.g. with a light pen 1970, and amen noch 1980

Xenakis

small setup for marching band pit

Yamaha MSR250 Keyboard Amplifier $450 Yamaha Synthesizer MO6- $1099(2) Planet Waves Custom Series Instrument Cables $50

Moog ribbon controller

a monophonic device for the linear control of voltage and essentially served the same function as the keyboard but without the keys. it was used by sliding a finger up and down a slender metallic ribbon to cause changes in pitch. wavering the finger tip along the surface could created vibrato

This composer was active early on combining tape music and slide projections with a machine made by Sony

Yuasa

This composer was influenced by Stockhausen's work in NHK and produced Icon on the Source of White Noise (1967) because of it

Yuasa. The composer employed filtered white noise and explore the spatial projection of electronic music

This composer followed the example of Grossi, and developed a college curriculum about his approach and composed many classically structured pieces

Zaffiri in Turin

this is may the best-known figure of chinese electro acoustic music. he studied at GRM in the 90s and combines East and West in his music

Zhang Xiaofu (b.1954)

Although the BBC workshop considered American-made Moog Synthesizer, it eventually went with

a British company, Electronic Musical Instruments (EMS)

The allies found what after winning WWII

a better formula for the composition and magnetic coating of the paper tape medium. West adopted this medium at this point.

Voltage-controlled filter (VCF)

a circuit using control voltages to set the parameters filtering the audio spectrum of the sound source

Schaeffer used the following equipment for etudes de bruits

a disc-cutting lathe for making recordings of the final mixes, four turntables, four-channel mixer, microphones, audio filters, reverberation chamber, portable recording unit, and sound effects from the radio station library and newly recorded sounds.

Berio finished less than this many solo tape pieces at RAI

a dozen (Mutazioni 1955, and Visage 1961 were a few)

echo

a form of reverberation in which the individual sound reflections, rather than being compressed into a short lapse of time, are space by 50 milliseconds or more, at which point they can be perceived individually

the square wave features

a gradually decreasing spectrum of odd number partials

Juan Blanco's music has been used for several large-scale exhibitions and public spaces such as

a gymnastics competition in 65, a hospital in Havana, and an installation of sound art for Cuban pavilions at world expositions in Montreal (67) and Osaka (70)

The phonautograph worked by having

a horn to detect sound that was connected to a diaphragm. The diaphragm was connected to a stylus that vibrated to incoming sound waves. A visual analog was written on a piece of paper.

to the untrained eye the Mark II looked like this

a mainframe computer. (not surprising considering the vacuum tubes and hardwired circuits were used for the first, analog, general purpose copmuters.

Gesänge der Jünglinge moved from the Paris vs. Cologne mindset to

a more broadly stylistic and open-minded period of electronic music composition.

trautonium was monophonic instrument, but Trauwein did add

a second fingerboard in 1934

Buchla electronic music box (1973)

a simplified version of the membrane keyboard was used for this portable instrument with a self contained synthesizer suitable for live performance

voltage-controlled envelope generator (ENV)

a special purpose amplitude controller dedicated to shaping the four stages of a sounds evolution: attack, decay, sustain, and release. most commonly associated with the characteristics of notes played using a keyboard trigger.

the fourth trait of electronic music is that it has

a special relationship with the temporal nature of music.

filter

a specialized amplifier that controls the amount of gain to prescribed frequency ranges of a sound.

RTF (GRM at the time) had all normal technology and also had

a three track recorder, a morphophone (a tape machine with ten heads for the playback of loops and the creation of echo effects.) and a Tolana Phonogene (a keyboard-operated tape machine deigned to play loops. It had 24 preset speeds that could be triggered by the keyboard), a sareg phonogene, a variable-speed version of the tolana phosgene tape loop machine, and a potentiometre d'pace, a playback controller for distributing sound to four loudspeakers.

sawtooth waveform

a type of basic waveform containing all even and odd harmonics associated with a fundamental tone; also called a ramp wave

using a rotary dial to change its pitch or it could be triggered by a voltage source outside of the oscillator itself, such as a keyboard or sequencer

a voltage-controlled oscillator could be adjusted manually

practical definition for musique concrete

a work that was conceived with the recording medium in mind, was composed directly to that medium, and was played through that medium as a finished piece.

El-Dabh took magnetic wire recorder from the Middle East Radio office to record

a zaar ceremony, which has African-influenced vocal music.

oscillators can produce sounds in the full range of human hearing from

about 20 Hz to 20kHz. They can also produce subsonic and ultrasonic waves, which cannot be heard but which, when combined with other waves, produce an audible result in keeping with Fourier principles of waveform behavior

Daphne Oram stayed at BBC radiophonic for this long

about a year. She wanted to be like cologne and france, but BBC just wanted effects and not art.

In 1930's and 40's the main recording mediums were

acetate disc recording (music industry) and wire recording (government agencies)

The first works of Eimert and Beyer were made with

additive and subtractive synthesis

the first electronic music composers in North America did not

adhere to any rigid schools of thought regarding the aesthetics of the medium and viewed with the amusement and skepticism what was going on in Europe

modulation wheel

adjusted the amount of voltage from an LFO used to modify a VCO, VCA, or VCF

filters

adjusting the perceptibility of harmonics is key to modifying the identity or timbre of a sound, making filters one of the most important sound modification components available to the composer.

in the third movement of Illiac suite the piece

adopts some 20th century techniques, including serialism

pitchbender wheel

allowed the performer to slide a note up or down. the control did this by sending a higher voltage to the VCO to raise the pitch or sending a lower voltage to lower the pitch

high-pass filter

allows only frequencies above a specified cutoff point to be passed. it removes the low frequencies from a signal

low-pass filter

allows only frequencies below a specified cutoff point to be passed. it removes the high frequencies from a signal

band-reject filter

allows only those sounds above or below specified high- and low-frequency cutoff points to be heard. it removes the midrange frequencies from a signal

band-pass filter

allows only those sounds between specified high and low frequency cutoff points to be heard. it removes the high and low frequencies from a signal at the same time

voltage controlled amplifier (VCA)

allows the musician to control the volume of a signal over a variable scale of amplitude.

a bridge between those two fundamental paradigms of electronic instrumentation

although MIDI is essentially a digital technology, it is included in this concluding discussion of analog synthesis because it represents

the Columbia-Princeton studio and RCA synthesizer were groundbreaking bc

although bearing tone-generating capabilities limited to the 12 tone scale, they radically modernized the degree of control given the composer over the synthesized result

subotnick's early synthesized works were more highly composed

although the instrument was suited for real-time performance and improv, this guys use of the buchla was diff

a splicing block is made of

aluminum to avoid magnetization of the block that could add noise to the splice.

After Visage Berio did not do purely electronic music but

always incorporated these elements into his work. E.G. Altra Voce (1999) which features mezzo, alto flute, and live electronics.

well-tempered synthesizer (69), switched-on bach II (74), by request (75), and switched on brandenburgs vol. 1 and 2 (79)

before Carlos converted her own studio to digital instruments, she produced moog music with titles such as

The Symphonie pour un homme was reproduced in 1955 for a

ballet by choreographer Maurice Bejart (1927-2007).

most people hear 1db, 3db, 10db as

barely noticeable, clearly noticeable, and twice as loud

Zodiac cosmic sounds by Mort Garson (1967)

bc of Paul Beaver the very first commercial recording featuring the Moog may be

Like the audion piano the theremin uses

beat frequency method to produce sound

it could also be used for managing modules other than pitch generators, providing timing triggers of present parameters to VCAs, VCFs, and other components, permitting many actions to occur simultaneously

because a synthesizer keyboard was essentially no more than a source of voltage output

Allen strange called white noise from 10k Hz to 22k Hz as

blue noise

these developments at CPEMC and SSfEM represented a

bridge from the purely electro mechanical synthesizer to voltage-contolled instruments that permitted improved programmability for the composer

independent and relatively unaffected by the synthesizer marketing wars that came and went along with many companies and products during the 70s and 80s

buchla was able to remain

Moog enjoyed

buchla's instruments never experienced the runaway popularity that

varese became friends with

busoni

organ-style keyboard and a ribbon controller

by 1966 Moog offered these things to the market

universal connectivity of their gear

by the early 80s, the makers of commercial synthesizers and PCs were feeling pressure from consumers to provide

64

by the end of this summer moog had his first prototype ready

unique MIDI-compatible controllers for musicians other than keyboardists

by the mid-1980s, MIDI was so prevalent that Buchla shifted his attention from designing synthesizers to making

polyphonic

capable of more than one note at a time by were often limited to no more than 10 voices, one per finger, in earliest models.

this is an electrical device that can store energy between two plates

capacitor

this is a tiny rotating motor driven spindle that pinches the tape against a rubber roller and pulled it from the supply reel to the take up reel

capstan

Hilda Diana wrote A7 (1964) which was for

cello and tape. the tape was cello sounds modified using tape treatment and editing techniques.

tape editing or splicing allows the composer to

change the linear sequence of the original recording

the sound object movement caused the composer to also be the

chief engineer

direct descendant of the teleharmonium was the

choralcelo (invented by Melvin Severy and George Sinclair in Massachusetts, premiered in 1909)

Maurice Bejart did this with Henry's Variations pour..

choreographed a ballet. Dancers drew lots to find out which part of the 25 they would dance.

like Babbitt, Wuorinen did this with the RCA synthesizer

chose only the purest, most unadulterated tones of the RCA syntheser for the first 15 minutes ​of the piece. the second half he reworked the recorded tone patterns from the first half

the contact of the brushes of the Mark II with the holes in the paper closed a

circuit, sending an electrical pulse along the relay tree to each of several separate, hardwired switches that would activate the designated frequency, octave, envelope, timbre, and volume.

williams mix made six categories of sounds

city sounds, country sounds, electronic sounds, manually produced sounds (including musical instruments), wind produced sounds, and small sounds requiring amplification to be heard.

a notable virtuoso of classical music on theremin was

clara rockmore (1910-1992)

this invention by Raymond Scott had left hand controls for vibrato hard attack and soft attack and a mute button that allowed the player to abruptly silence a notes while it was on the rise

clavivox

this invention was one of the few that Raymond Scott marketed commercially although few were sold

clavivox

by the late 1970s Japan had overtaken the West in becoming the leading supplier of

commercially available electronic music instruments, which led to several popular electronic musicians Isao Tomita (b. 1932), Kitaro (b.1953), and Ryuichi Sakamoto (b.1952)

a single vibration is called a

cycle

if though these things are limited in their frequency response, they are a familiar staple of electroacoustic music

contact mics, or pickups. they help amplify quiet, otherwise undetectable sounds. they can be inexpensively constructed using a few dollars' worth of parts from Radio Shack

this can help you alter the amplitude of individual harmonics

controlled voltages, changing the timbre of a tone

the second movement of Illiac suite fully explores the

conventional rules of counterpoint

The Studio fur Elektronische Musik had a unique optical scanner for

converting graphical scores into sound-generating signals

in a condenser mic, when vibrations cause the diaphragm to fluctuate, changes in the static charges of the two plates are translated into a

corresponding electric current

Varese wanted to further the dynaphone by making sure it

could make pure fundamentals, loading these fundamentals with certain series of harmonics to obtain new timbres, create new sounds with dueling dynaphones, and increase the range of the instrument beyond traditional instruments.

in practice composers generally used the RCA synthesizer to

create individual layers and sections of a work, often produced out of sequence, for later modification and assembly using the extensive modulation, mixing, and tape recording facilities of the studio

One of the four people to be hired by the BBC radiophonic workshop was

daphne oram (1925-2003) who established her reputation by being the first electronic music for score for an English television program (Amphitryon was the program)

db stands for

decibel (measurement unit for sound)

CLAEM and Estudio de Fonologia Musical were both

defunct by the early 70s, but were important to the establishment of Laboratorio de Investigation y Produccion Musical (LIPM)

the third stage of development for Hiller and Isaacson to choose a piece was to

demonstrate that a computer could also produce "novel musical structures" and code elements such as dynamics and rhythm

Cage would sometimes decide on instrumentation and then would use the random numbers to

denote choices for any decision that had to be made regarding the characteristics of the sound, such as pitch, amplitude, duration, timbre, and envelope.

Cage and Tudor used the phono-cartridge in this manner

detached it from its tone arm and used objects such as toothpicks, Slinkys, and straight-pins in the place of the usual needle.

the second stage of development for Hiller and Isaacson to choose a piece was to

determine how to code such musical information and demonstrate an ability to produce music musicians could read

difference bt diagonal and vertical splicing

diagonal is potentially stronger, vertical is more likely to result in popping sounds

In 1957 a researcher at Bell Labs named Max Mathews (1926-2011) successfully demonstrated the computer generation of sound for the first time using a

digital-to-analog converter (DAC)

electronic music doesn't always have a score because the composer

directly creates the performance either as a recording or a live performance.

stockhausen succeeded Eimert as

director of the Cologne studio in 1963. composers who came after this included Krenek and ligeti

Moog Minimoog

early performance synthesizers incorporated some of the first logical steps away from the use of patch cords and manually controlled parameters to preset controls for instrumental voices based on additive and subtractive synthesis techniques

audio circuit

electrical signals generated by these are not strong enough to drive a loudspeaker on their own and require amplification.

the science of musical acoustics developed during the latter half of the 19th century in tandem with general discoveries in the field of

electricity. Hermann von Helmholtz was a principal player in this field

Carvalho's pieces were considered this, because they mixed natural sounds with electronic sounds

electro acoustic

an electrically powered, analog mechanical device, e.g. an electronic organ or electronic piano is described as

electro-mechanical

this term became more widely used during the 70s and 80s, a critical period of technology transition as the use of analog equipment began the switch to digital audio processing

electroacoustic music

this term is widely used to denote music that integrates sounds from the natural world with audio processing as well as synthesized sounds

electroacoustic music

microphones and pickups fall into the broader category of

electroacoustic transducers

the recording head instills an

electromagnetic imprint of the audio signal onto the iron oxide coating of the tape

The Barrons established the first

electronic music studio in America

Le Caine worked on this in 1945 and continued to upgrade the instrument in keeping with parallel advances in electronics for almost 30 years

electronic sackbut (1945-73)

Raymond scott designed this instrument to produce in hours what could take days or weeks to write out as scored music

electronic. he thought of it as a cost saver to the industry

Musicologist H.H.Stuckenschmidt (1901-1988) believed that the third stage of music was

electronic. the first was vocal, and the second instrumental.

Raymond Scott perfected this machine for ten years before he released it. Motown Music was interested and hired him as their technology consultant in 1970

electronium

this Raymond scott invention used processes based on controlled randomness to generate rhythms, melodies, and timbres

electronium

this invention by Raymond Scott was a semi-automated composing synthesizer without a keyboard

electronium

this invention by Raymond scott allowed the composer to preset melodies, tempos, and timbres or recall previously prescribed settings

electronium

This trend was important in Japan starting in 1954

elektronische Musik

Le Caine invented the Spectrogram to

enable the graphical input of program instructions-a uniquely artistic method of sound programming even to this day.

the midpoint of a wave's propagation is called this and is denoted as point 0 on a waveform diagram

equilibrium point

Source of uncertainty module, which could generate any combination of two continuously varying random voltages, two pulse-actuated random voltages, and white noise with three spectral distributions

even more specialized on the Buchla 200 was the whimsically named

With Forbidden planet we built a circuit for

every character. then we would vary these circuits accordingly. They were like leitmotifs (Bebe Barron)

electronic music before WWII was based more on

live performance. Varese and Cage pushed for more recording.

on the Mark II this was available as a secondary step in the synthesis of basic tones

frequency shifter, or octaver

for the mark II the binary codes controlled these five elements for each of the two channels

frequency, octave, envelope, timbre, and volume.

Decibel values can be calculated

from any power measurements that use a common linear scale (e.g. Watts).

a sawtooth wave is

from big fundamental gradually diminishing to 11th partial

here is the natural harmonic series

fundamental(1st harmonic)- C 2nd-C 3rd- G 4th- C 5th- E 6th- G 7th- A#

Stockhausen's approach for Gesang der Junglinge was to

fuse the sonic components of recorded passages of a youth choir with equivalent tones and timbres produced electronically.

The writer Marinetti (1876-1944) wrote the

futurist manifesto (fascist overtones)

Patella (1880-1955) wrote the

futurista musica (musical manifesto), claimed chromatic atonal mode was a development of their school but it was 1911 (after Schoenberg)

the RCA Electronic Music Synthesizer could

generate, modify, process, record, and present complex sonorities intended for musical applications.

Shichi no Variation (7 variations) was a scored

graphically and used seven mixtures of sine waves instead of five as in Studie II

the result of the university based model of CPEMC was a

greater access to equipment and a nurturing environment in which to learn the art of electronic music.

by 1954 the project of music for magnetic tape

had run its course, largely because the participants became disenchanted with the restrictions of formal tape comp.

recorders that were capable of recording two tracks in one direction could also play sounds in reverse if the tape was flipped over were called this

half track stereo

the way of specifying envelope that Moog made is absolutely standard in today's electronic music

having been an engineer as well as a composer, Ussachevsky was able to proved Moog with a technical specification for the devices he wanted to have constructed. for ex.

lack a tape machine with variable speed control, Juan Blanco did this

he applied pressure with his fingers to manually alter the preset speeds of his tape machines.

Raymond Scott was secretive about his musical invention (electronium) bc he thought others would steal his trade secrets therefore

he had minimal influence on the evolution of music technology

feruccio busoni (1866-1924) is important to electronic music because

he realized that technology may help him fulfill his musical ideas. (in his case microtonal music)

The development of university sponsored studios in Japan

helped students be able to stay home to study this

electronic hair pieces (1971 from the broadway musical hair) music for sensuous lovers (1971) black mass lucifer (1971- dark electronic rock opera) and plantasia (1976 music to help plants grow

here are some of the stuff Mort Garson did after Zodiac Cosmic sounds

transistorized and solid-state components helped reduce the size of the sound-generating components and producing stable oscillators

here's how Moog solved the size and stability problem of synthesizers

the number of cycles can be expressed by a unit of measure known as the

hertz (Hz)

Stockhausen also used complementary tones in this relation to the 1920HZ (Studie I)

higher

using a faster tape speed when recording creates a

higher fidelity bc more magnetic particles were being devoted to the recording.

Moog

his company lives on to continue the work of this pioneer who was the most influential engineer in and advocate of electronic music for 50 years

electric piano works by hammers

hitting metal strings or tines leading to vibrations which are converted into electrical signals by magnetic pickups, which are then connected to an instrument amplifier and loudspeaker to make a sound loud enough for the performer and audience to hear

100 series modular electronic music system

in 64 at about the same time that moog was also working on voltage controlled synth design, Buchla created the basic parts for what would become

200 series Electronic music box, which became one of the centerpieces of the studios of the Mills center for contemporary music

in 70 Buchla introduced the

a small amount of current is applied to the control input of a given component to modify the output signal

in a voltage-controlled device this happens

random order

in addition to providing the fixed sequential output of a signal sequence, some sequencers could also be set to output a given sequence in

Columbia Princeton Electronic Music Center

in addition to the SFTMC, Buchla's synthesizers were popular with other studios, including

modulation

in electronic music the term is borrowed from the field of telecommunications and refers to the use of one electronic signal to modify another, such as the output of an LFO changing an oscillator's frequency. changes in pitch, amplitude, and timbre can all be controlled using this.

Thunder and Lightning-light-controlled wands for triggering MIDI signals using any MIDI-compatible synthesizer

in the mid-80s Buchla turned his attention to the development of other new electronic instruments such as

alwin nikolais, director of the Alwin Nikolais Dance theater, who composed many of his own scores on tape

in the spring of 66, moog sold his first production model of the synthesizer to (entitled it the moog modular synthesizer shortly after this)

Pendulum Music

in this piece the swing of the mics eventually decays, and they come to rest over the loudspeakers causing uninterrupted feedback until the amp is shut off

Pendulum Music (1968)

in this work, one or more loudspeakers were placed on their backs, aimed at the ceiling. the amplitude was turned up to the point where feedback would occur if the mics were brought within proximity of a loudspeaker.

hollow, harmonic chiming quality

increasing the Q factor narrowed the width of the passed band, increasing the Q factor and further accentuating the remaining sidebands, giving the sound a

unlike sine, sawtooth, and triangle waves, which make a transition from the apex to the base of the wave cycle, the pulse wave

instantaneously umps from the apex to the base

touch-sensitive plates

instead of a keyboard, the Buchla employed various arrays of

Unlike a synthesizer, the electric piano

is not an electronic instrument.

gain

is the amount of voltage or power that an amplifier provides to increase the strength of a signal.

the second trait of electronic music is that

it can expand the perception of tonality. made microtonality more practical. Cage accepted the value of all sounds

the seventh trait of electronic music is that

it often lacks a point of comparison with the natural world of sound, providing a largely mental and imaginative experience.

The RTF and NWDR were in conflict because

it was so soon after the war and they were in different aesthetic camps

Schaeffer led a double life at his time at RTF because

it was under German occupation (he was part of the French Resistance)

Imaginary Landscape no. 5 uses mostly

jazz records, and the result lasts four minutes.

most famous martenot player was

jeanne loriod (1928-2001). recorded commercially and trained Valerie Hartmann-Claverie who has played with orchestras since 1973

Some notable composers at the Inter-American of Art (1966)

john Cage, Learn Hiller, Gordon Mumma, Morton Feldman, and Mario Davidovsky

a sine wave is

just the fundamental its a smooth up and down pattern

here is the first example of the oscillators through the decades in electronic music

late 19th- Thaddeus Cahill invented the tone wheel-an electro-mechanical device that required the rotation of precisely milled notched metal cogs against a metal brush to produce pitch-making circuits

cutting periodic segment of blank tape called this (a non magnetic protective tape at the beginning or end of a reel could induce a rhythmic or pulsing effect

leader tape

masters or first generation tapes have the

least amount of noise

varese was championed by

leopold stokowski (1882-1977) of the Philadelphia Orchestra

Buchla

like robert moog and hugh le caine, this guy was convinced that voltage control was the most practical approach for producing a synthesizer that could be managed effectively by a composer

second step of tape composition

listening to the tapes and extracting sections of sound to be used in the final assembly of the piece

Differences by Berio (1958-1960) combined

live musicians (flute, clarinet, viola, cello and harp) with recordings of themselves.

Mumma, Ashley, Cage, and Tudor turned electronic music into a

live performance medium

Fontana Mix was the last

major Cage composition for magnetic tape alone

Around 1955, Mumma dropped out of college and he started to

make his own circuits for making electronic music.

Martenot wanted to make his instrument more viable by

making it look like an instrument and avoid the space-controlled design of the theremin

The RCA synthesizer did not compose music but was

managed by a composer who pre-programmed the machine's operation using a punched paper input device

the application of control voltages can be compared to

manually turning a volume knob on a stereo system: the further up or down the dial is turned governs the amount of current fed to the amplification circuitry that drives the loudspeakers

all of the Mark II information was put it

manually, requiring patience, but saved time by generating, without tape editing, some of the effects normally accomplished with a razor blade and splicing tape.

the movable circular pad of the electronic sackbut was

marked so that the musician could equate locations on the pad to various approximations of tonal quality, such as reedy for oboe, brassy for trumpet

The seven values of sound objects are as follows:

mass (organization of the sound in a spectral dimension), dynamics (measurable values of the various components of the sound), tone quality/timbre (particular qualities and color of the sound), melodic profile (temporal evolution of the total spectrum of the sound), profile of mass (temporal evolution of the spectral components of the sound mass), grain (analysis of the irregularities of the surface of the sound), and pace (analysis of the amplitude dynamics of the sound)

Delia Derbyshire (1937-2001) held a degree in this from Cambridge

mathematics. She would create the longest single tape loop at the BBC workshop

With the availability of commercial analog synthesizers by 1965, the RCA synthesizer was supplemented wiith the

modular, solid-state Buchla syntheses, Ampex tape recorders, and expansion of the studio's workspace to include several individual workstations for composers.

The NWDR used this update version of the monophonic trautonium

monochord

making new sounds but for making textures out of these sounds by specifying when these sounds could change and how regular those changes would be

moog admired buchla's work and said that Buchla designed a system not only for...

the key rocked mechanically on a small vane and used optical sensors to detect the velocity and depth of a key being depressed

moog did this to achieve key sensitivity

engineering interests independently, working as a much sought-after consultant for many years

moog himself left moog music in 77 to pursue

the only patent i ever got that is worth anything

moog said that his voltage-controlled filter was

solid state theremins and high quality analog sound processing modules under the brand name of Moogerfoogers

moog starting working on this in the 90s

the beatles found an effective use of modulated white noise in therir use of this machine in this song

moog-created undulating, wind-like noise at the end of "I Want You (She's So Heavy)" (1969)

the final movement of Illiac suite was

more purely mathematical in origin, forming the basic of a "stochastic" musical approach in which the computer helped select notes based on probability factors and weighted frequency distributions.

when Luening and Ussachevsky learned of El-Dabh's music in 1955, the Egyptian composer had been dabbling in electronic music for

more than 10 years

q-factor

most low pass and band pass filters have a variable regeneration or resonance control sometimes referred to as the Q factor.

preset (hardwired) and controlled by rocker switches and dials

most of the patching bt modules of the minimoog was

most sequencers

most of these could be set to trigger control voltages in 8, 12, or 16 increments and there were often three such arrays available at a time. despite a limitation of 8, 12, or 16 steps, patches could be used to effectively strings out all 3 rows into single long sequence comprising 3 times as many steps.

sustain

once a sound has passed through the attack and decay stages, it may be sustained at a fixed amplitude for as long as the note is held

the vacuum tube (invented by lee de forest, also called audion, amplified relatively weak electrical signals) made possible instruments like the

ondes martenot and theremin

portamento feature

one benefit of a monophonic system was that it gave Moog an opportunity to perfect his

if a note recorded at 15 inches per second (its) was played at 30 ips, it would have been

one octave higher

Variations pour une porte et un soupir, 1963 is

one of the most mature pieces of musique concrete

"virtual analog" instrument: software or digital keyboards using sound-generating algorithms and controls that emulate the manual control and tone color of classic analog instruments

one predominant trend at the time of writing is the

The Milan studio of the RAI was

open to everything, and therefore was the most democratic (or anarchic)

this studio was equipped much like the Cologne studio featuring a wealth of tone-generating, audio processing, and recording equipment

original NHK studio

waveforms can be generated by an electronic circuit called an

oscillator, which produces periodic vibrations in the form of an electric current

these are the basic building blocks of sound in a synthesizer

oscillators

these have been utilized using many different techniques throughout the history of electronic music

oscillators

the olson-belar machine was different from early large scale computers because it could

produce audio output from pre-programmed routines

Raymond Scott's sequencer (predecessor to Moog's voltage controlled version) was able to

produce uniform sequences in which 200 elements can be combined in infinite permutations of pitch, tempo, meter, timbre, or special mood

the Moog synthesizer

produced both in modular and performance designs, this was the most commonly used instrument in electronic music studios during the late 60s and 70s

For Telemusik Stockhausen did this to the sound

produced spatial projections of the music through the use of a panoramic mixing console to sweep the sound around the listening space.

most of the pieces created at CPEMC were

produced using concrete or electroacoustic sources rather than the 12 tone system embodied by the RCA synthesizer

the neon tube oscillator, as opposed to the beat frequency technology of the theremin/ondes martenot

produces richer harmonic sidebands

Hermann von Helmholtz (1821-94)

prominent physician who published (1863) On the Sensations of Tone as a Physiological Basis for the Theory of Music (music acoustics and tone generation)

this wave has only the odd harmonics of the fundamental, like the triangle wave, but differs significantly in the amplitude relationships of these harmonics.

pulse or rectangular wave

Other early computers (other than ILLIAC I) used input from

punched cards and magnetic tape

a sine wave is a

pure tone

because Babbitt did not modify the sounds with reverb, vibrato, or tape editing tricks, his works were an exercise in

purely abstract tones (Mark II was ideal for this)

Stockhausen played some sounds backwards (Studie II) which created a

ramping decay with abrupt cutoff

the paper punch recorder on the Mark II was also a

reader

unlike Raymond scott invention from 2 years earlier the Multi track of Le Caine did not

record its sound using multiple tape heads and a single reel of tape by instead synchonized the playback and recording of six individual tape reels. the sound from all six was mixed down into a single track.

The process for writing the first gramophones works included

recording a set of sounds onto one disc and then re-recording them onto a second disc as the first was played back (often at a different speed)

first step of tape composition

recording of raw material sounds developed by whatever means and recorded onto magnetic tape

Philip Reis demonstrated the

reis telephone in 1861 (could reproduce up to an octave, but didn't articulate voices)

below the paper of the Mark II there was a

relay tree of hardwired contact points for each possible position of a punched hole on a row. Above the paper was a series of metal brushes corresponding to the relay tree below. As the paper roll was set into motion, the brushes made contact with the relay tree whenever there was a punched hole in the paper.

this comprises the time it takes for a note to end and return to zero amplitude

release

voltage-controlled technology

responsible for the commercial boom of electronic musical instruments during the 1960s and 70s, leading to the adoption of principles that continue to be applied in the algorithms used to drive digital synthesizers and software synthesizers

the index finger on the electronic sackbut did this

rested on a movable circular pad that could be pressed in any direction to continuously change the waveform and timbre of the sound. this deceptively simple controller provided the player with extraordinarily fluid manipulation of the waveform

Schaeffer developed his own form of this by dividing his sound object categories into 50 points of morphological description

serialism

This trend was of interest and on display in Mayuzumi's Les Oeuvres pour musique concrete x, y, z (1953)

serialism (used to compose a short passage of cello music for part z

each channel of the tape recorder of the Mark II could record up to

seven individual tone sequences

Cuts of leader tape made at right angles create a

sharper, percussive jump from sound to sound

Rosen was important to the theremin because

she pushed composers to write new works for the instrument. Bohuslav Martinu (1890-1959)/Isidor Achron (1892-1948) were a few of these composers.

Edison's first phonograph inscribed a sound onto a

sheet of tin foil. the sound was played back by using a stylus that amplified the vibrations recorded in the grooves of the tin foil.

the fourth stage of development for Hiller and Isaacson to choose a piece was to

show composer that computers might be helpful in developing new "species" of music with unconventional musical elements.

prior to the availability of low-powered solid-state circuit boards, the use of voltage control relied on

significantly higher current levels, hardwired circuits, and vacuum tubes that had a short lifetime.

Moog

since the 60s this brand of synthesizer still represent the gold standard of the analog electronic music industry

this is the simplest type of waveform. it contains no harmonics

sine wave

the first movements of Illiac suite begins with a

single line of notes and progresses through the addition of two and four parts

here is the third example of oscillators in electronic music

solid-state oscillator circuits were found in voltage controlled analog synthesizers from the 60s to the mid 80s when digital synthesis using integrated circuits and software was adopted.

have more setting for more than one type of waveform

some oscillators

a work of electronic music designed for a specific audio space, event, or activity, as opposed as to stage performance

sound installation

the fifth trait of electronic music is that the

sound itself becomes the material of composition

Moles identified sound that existed apart from human perception as a

sound object

volts is equivalent to

sound pressure

The RCA electronic music synthesizer (originally the olson-belar sound synthesizer) was the first

sound synthesizer in the modern sense

most celebrated output of the Barrons' studio remains the

soundtrack to the science fiction movie Forbidden Planet (1956)

this was a key component of the University of Toronto Electronic Music studio when it opened in 1959

special purpose tape recorder (by le caine). he refined the device over the years, eventually making a more compact, solid-state version in 1967

Shichi no Variation was a

strictly serial piece based on the composition process used by Stockhausen for Studie II in which sound, including envelopes, were determined by serial formulae

the Columbia-Princeton crew wrote music that

stuck close to the classical tradition, often pairing with acoustic instruments

At the first live concert of tape music at the Cologne studio (1954) Stockhausen premiered

studie I (one of the first to use only sine waves, and totally serialized) and Studie II

by about 1960 it was difficult to distinguish tape music

stylistically from one country to another

hotels (like the waldorf)

subscribed to the electronic music service

the control features of the RCA electronic music synthesizer included a paper tape drive for storing and playing a sequence of tones that

surpassed the capability of anything in Europe

best classical performance: instrumental soloist, best engineered classical recording, and classical album of the year

switched on bach won three grammies for

contemporary practitioners of electroacoustic music are schooled in

synthesis techniques (analog and digital), signal processing and sound manipulation, analysis and re-synthesis, spatialization, recording, and real-time or interactive software programming for live performance.

Ensamble VI and Estructuras (Juan Blanco) mainly consists of

textural extremes, echo, banging inside a piano, and sweeping amplitude changes

Pauline Oliveros used this as the structural process behind many of her groundbreaking works

tape echo

In 1948 3M created what breakthrough in the magnetophone world

tape made of acetate and in 1953 polyester. Would be main medium until the 1990's

Luening and Ussachevsky composed their first pieces using only

tape manipulations (speed changes, reverse sounds, splicing) and reverb using Mauzey's black box.

Imaginary Landscape No. 5 (1952) was a

tape piece (w help from Barrons and David Tudor)

Ibuka and Morita realized this had musical applications

tape recorder

this transformed the field of electronic music overnight by making it a composer's medium

tape recorder

in 1966 the equipment at San Francisco Tape Music Center consisted of

tape recorders, oscillators, and filter banks

Cuban composer Juan Blanco's (1919-2008) earliest works of electronic music were composed using only

tape recorders, recorded sounds, and tone generators

Juan Blanco incorporated these techniques in his early work

tape reversal, microphone feedback, speed changes, re-recording and layering sounds from one machine to another, and tape splicing.

a classic tape music technique was the effect of playing at speed different than the original called

tape speed manipulation

a record sound is played on tape by passing the

taped signal across a playback head that translates the magnetic imprint into an audible sound

Peter Mauzey (b. 1930), a young engineer at Columbia, helped Luening and Ussachevsky with

technical things, and built a circuit for creating reverberation.

controlling all of the parameters available for generating and performing music on analog synthesizers was made practical by the introduction of the

technique of voltage control.

teleharmonium was built in dc and was transmitted over

telephone wires during 1900 and 1901. one octave at this time.

Cahill's instrument was called the

telharmonium (or dynamophone)

El-Dabh made full use of these at Columbia-Princeton

ten ampex tape recorders. "I always like the idea of solid noise, and I felt like a sculptor who was chiseling the sound away."

Oliveros completed this many pieces in her short time with Le Caine

ten completed tape compositions and six ultrasonic tape studies. Most notably is the 21 minute I of IV (1966), featuring tape delay and 12 tone generators connected to an organ keyboard

This pioneer of electronic music was a pianist who played with Cage and found NPS (an electronic studio) with visual artist Ennio Chiggio

teresa rampazzi

co-author of this text

terry m. pender (teaches at columbia)

the use of vocal sounds for electronic composition is called

text-sound composition

1984 after many months of behind-the-scenes cooperation and squabbling by several leading electronic manufacturers (Roland, Oberheim, Sequential Circuits, Yamaha, Korg, and Kawai.

the MIDI interface and communications protocol was introduced in

Cage continued to experiment with electronic media after Fontana mix, especially with

the Merce Cunningham Dance company, for which he was a musical advisor for over 40 years.

Jacqueline Nova studied piano and classical music composition and earned a masters degree from

the National conservatory of music in 67

Scheffer worked as an engineer apprentice at

the Paris facilities of French National Radio and Radiodiffusion-Television Francaises (RTF)

two sets of touch-sensitive plates

the SFTMC has this as far as plates for the Buchla

tape delay is associated with

the San Francisco Tape Music Center in 1960

Schaeffer eventually backed off composing and became embroiled in a philosophical debate with

the Studio for Electronic Music in Cologne.

frequency range of .01 to 40k Hz (human 20 to 20k) the frequencies outside human hearing can still affect the ones that are audible. usually had two of these on the Moog. Moog 55 had seven. they could make sine, sawtooth, triangular, and rectangular waves

the VCOs of the moog had these features.

Magnetic tape allowed for what in the electronic music world

the ability to edit and manipulate

synthesis

the ability to use the fundamental building blocks of sound to construct new sounds

designing voltage-controlled electronic music components was less practical until

the affordability of transistorized, solid state electronic music components in the 60s

second input signal in the form of an oscillator. this can be adjusted to narrow or widen the distance between the two frequencies generated by the effect

the analog ring modulator made by the Moog Music Co. has a

The exchange between Jikken Kobo and Sony was

the arts collective was provided w access to the latest tech in change for the dev. of music/art for demo purposes

corresponding increase in volume from a loudspeaker

the audible effect of increasing gain is a

handsome walnut-framed cabinets that gave the instrument a superbly professional appearance. this was a strategic choice to not be too bold or modern for fear of intimidating composers and performers.

the basic Moog modular synthesizer was packaged in

this is the key to a thorough understanding of the making of electronic music

the basics of waveforms, filters, cutoff frequencies, modulation

The touch-sensitivity of the mixtur-trautonium and the warm sound helped it make appearances like in the 1963 film

the birds

separate pulse generator module, allowed the composer to modify the voltage values controlling the rhythm of each individual sequencer

the buchla 100 had this available for controlling the sequencers

from analog to digital synthesis

the buchla synthesizer went through several stages of development over the years, successfully bridging the gap

trigger sounds that had been manually programmed using patch cords on the control panel, or they could be set to emulate an actual keyboard tuned to the chromatic scale

the capacitance-sensitive plates of the buchla system could each

Gesang der Jünglinge avoids

the choppy, sharply contrasting effects that were used in early magnetic tape pieces.

by 1967 the BBC workshop devised plans for an extravagant switching panel that could manipulate up to 50 sound inputs, but these became unnecessary because of

the commercial availability of several early voltage-controlled synthsizers

locked grooves of turntable discs

the concept of looping originated with

musique concrete explores

the construction of music using sound recording tools, natural sounds, electronic signals, and instrumental sounds.

the RCA Music Synthesizer was good for this but its elaborate punched paper input system was of little value to most composers

the creation of 12 tone music

a duty cycle of 1:3 indicates that

the cycle spends one third above 0 and two thirds below 0 per cycle

the late 1970s, at about the same time as the emergence of the first personal computers

the development of the analog synthesizer was reaching its summit by

One advantage of the Echoplex was

the distance between the record and playback heads could be adjusted to increase the length of time between echoes

microphones are built using two basic principles

the dynamic or electromagnetic microphone and the condenser or capacitor/electrostatic microphone

release

the end of a note's envelope, which drops off rapidly to zero amplitude. this term is equivalent to letting go the key on a synthesizer.

poeme electronique was

the end of one era and the beginning of another. Previously this music was not for wide consumption. Over 2 million people heard it at the phillips pavillion.

the most distinctive change to a sound when it is reversed is that its ____________ also become reversed

the envelope

a transitional period from about 75 to 85 during which analog instruments bc increasingly computerized and the ability to link synthesizers to personal computers underwent a transformative stage of development

the field of electronic music was clearly on a path to digital synthesis by the late 70s but there was

touch-sensitive

the first commercially available synthesizer keyboards were not

big slow glissando

the first sound on the Zodiac cosmic sounds (first feature for the moog) was a

although electronic music changes,

the lexicon of electronic music terms and principles remain the same

by 1966 this technology still represented the leading edge in electronic music technology

the magnetic tape studio

Pendulum Music

the microphones in this piece were suspended from the ceiling on long cables like pendulums, and were swung so that they would pass just over the loudspeakers. as a mic crossed the speaker a whooping feedback sound would happen.

this was what was controlled by the left hand of the electronic sackbut

the modification of type of waveform and timbre with the touch sensitive pad with individual controllers for each finger

only one pitch placed at a time, represented by the highest voltage (highest key) being depressed on the keyboard at any given time.

the monophonic keyboard of the moog could do this

live, real-time performance

the moog modular synthesizer was not designed for

Hoftsra University professor Herbert Deutsch

the moog synthesizer grew out of a meeting bt Moog and

organ-style keyboard

the most common voltage controller found on analog synthesizers

sequencer options

the most innovative features of the Buchla 100 were its

The art of sound splicing owes its development to

the movie industry

Juan Blanco's Ensamble VI and Estructuras from 1963 are indistinguishable from

the music composed four or five years earlier in France, Germany, Italy, or Japan

Cage was able to get a second million new numbers again but

the new printout came with the implicit warning that he had better find another source of random numbers for the next time.

touch-sensitive (Wendy Carlos commissioned the engineer to build two touch-sensitive keyboards for her)

the original moog was not

Lucie Bigelow Rosen (1890-1968) was

the other theremin virtuoso. Played at Carnegie with Philadelphia Orchestra

for the sound palette for an RCA synthesizer work was not limited to

the output of the synthesizer's tone generators.

Edouard E. Coupleaux and Joseph A. Gaveled made a "one vacuum tube per note" instrument that was improved because of

the overtones added to the sine waves.

cutoff frequency

the point at which a filter begins to omit a prescribed frequency range.

Laurens Hammond (1895-1973) used vacuum tubes to operate

the power, mix the tones, and amplify the sounds of his organ.

monophonic instrument

the process of switched on Bach was complicated by the fact that the moog is a

two VCOs and two voltage-controlled amplifiers (VCAs) triggered by two keyboards

the prototype that Moog eventually provided for Deutsch consisted of a module with

circuit feedback

the result of signals generated within an electronic instrument whose design enables the recirculation of a signal within a closed circuit-taking the output back into the input-prior to its amplification in the listening space.

decay

the second stage of a sound as defined by the time it takes for the signal to go from its peak amplitude to its sustain amplitude.

listened to musicians and solved there three most pressing challenges of synthesizers at the time: size, stability, and control.

the secret of Moog's success was that he

The dynaphone was not much different than the

theremin an ondes martenot

most classical music for these instruments stopped during the 50s as thecomposers turned to tape music

theremin, ondes martenot

sequencers

these allowed a pattern to be used with any patch, regardless of instrumental voices used or tempo or key (memorized key depressions)

manually operated (kinesthetic) controls

these are adjusted or played by hand in real time

echo and reverb

these comprise different degrees of the same phenomenon-the effect of reflected sound on the perceived depth or character of an audio signal.

sequencer outputs

these could be fed to any other voltage-controlled component for generating, modifying, mixing, and distributing sound.

Donald Buchla and Paul Ketoff (Italy)

these guys developed commercial synthesizers in the same vein as Moog although they were never accepted in the mainstream and only sold a handful.

early sequencers

these had a number of schema, from straightforward voltage pulses to controllers that also provided time settings for varying the duration of a given increment in a sequence.

analog synthesizers

these have keys which each are voltage generator and could be used to trigger a specific note by sending a signal to the voltage-controlled oscillator

sequencer

these provided a means for structuring a sequence of voltage control signals to other voltage-controlled modules.

sequencers

these were a versatile source of output voltage and could be combined in banks so that the output of one could start and stop together.

Untitled (1972), Toneburst (1975), Pulsers (1976)

these were important works by David Tudor which are based on the ability to feed the output of some of his devices back into their own inputs. The resulting signal paths could be manipulated by adjusting gain levels and filters.

silver apples of the moon (67) and the wild bull (68)

these were the first works of electronic music commissioned solely for release as long-playing record albums

typical voltage control inputs

these would allow manipulation of oscillator frequency and waveshape

for early tape music it was liberating bc

they didn't need to score or notate parts

Argentinian composers were maybe more well known because

they were among the first Latin composers to study and compose abroad.

Eliane Radigue (b.1932)

this French composer is a classic analog synthesist who has used subtractive synthesis as the focus of her works.

Charles Cohen (b.1945)

this Philadelphia composer is an original owner of a Buchla music easel, only about 25 of which were manufactured in 72. he still uses it for live performance.

synthesizer

this became a household term bc of switched on bach

using control voltages

this became practical during the 60s with the availability of solid-state circuitry and the ability to direct a small amount of current to the modular components of a synthesizer.

subtractive synthesis

this begins with a complex waveform and subjects it to filtering (of any variety)q

electronic music: systems, techniques, and controls

this book by allen strange was the first electronic music composer's bible (30 years later the first and second editions of his book were still highly valued as exquisitely detailed documents of the analog past)

ribbon controller. pressing the ribbon against the contact strip at any point along its length would close a circuit and produce a corresponding voltage.

this component of the moog had a strip of teflon with wire underneath, suspended slightly above the contact strip.

Subotnick

this composer became the foremost virtuoso of Buchla's synthesizer

q-factor

this control changed the perceptible sharpness of the filtered sound.

pulse width modulation (pwm)

this form of modulation takes advantage of the fact that the harmonics of a waveform will change according to the duty cycle of a pulse wave.

a velocity-sensitive keyboard

this generated a voltage for a notes that was proportional to the speed with which the keys were depressed

Herbert Deutsch. it was at the studio of the sculptor Jason Ceely who was known for making sculptures out of automobile bumpers. Deutsch had composed a piece for magnetic tape using the sounds of a percussionist playing traditional instruments as well as Ceely's sculptures.

this guy invited moog to attend a concert of his music in NYC in january, 64,

Buchla

this guy made the first commercial synthesizer w a sequencer

music and physics. she had a fascination w astronomy as well, she's traveled the world photographing total eclipses of the sun

while an undergrad at Brown, Wendy Carlos pursued a crossover of these disciplines

musician Paul Beaver (1925-1975), being one of the only people who knew how to set up and perform on the Moog meant that he was often recruited to sit in on recording sessions for other people

this guy was moog's west coast sales rep

Reich

this guy's highly determinist compositions stand in stark contrast to Cage's work

Herbert Deutsch

this guy, who inspired moog, would use theremin kits for sightsinging and ear training

Voltage-controlled oscillator (VCO)

this is a circuit for generating a periodic waveform, usually a sine, sawtooth, triangle, or pulse/square wave.

ring modulation

this is a form of amplitude modulation in which special circuitry suppresses the carrier signal and reproduces only the sidebands.

signal processing

this is done through the use of a variety of circuits to modify the electrical voltage of a sound, or its digital equivalent in computer-based instruments.

looping

this is similar to delay but the original signal is not re-recording with each pass. rather this repeates without loss of fidelity for as long at it is played.

the single largest installation of the moog sequencers in the world. it was delivered in 1969

this is what Joel Chadabe did with his $18k grant

two additional frequencies are created in place of the original carrier signal. one is equal to the sum of the two input frequencies and the other is equal to the difference between them

this is what happens with ring modulation

5 octave, monophonic keyboard for triggering voltage control signals, wide-range voltage-controlled oscillators (VCOs), voltage-controlled amp (VCA), voltage-controlled filter (VCF), envelope generator, ribbon controller, patch cords, and sequencers

this is what was on the menu when ordering a moog synthesizer.

subtractive synthesis

this is when there is a systematic elimination of certain parts of the sound, such as overtones, or the fundamental frequency.

three. the controls consisted of rotary dials, one for each of the available voltage steps, arrayed horizontally in three rows. adjusting any of the dials would set the voltage for an output pulse that could then be patched into another module as a control voltage

this many outputs were available for each sequencer of the Buchla 100

Three. two accommodated up to 8 programmed voltages in sequence and the third provided a sequence up to 16 voltages.

this many sequential voltage source generators were provided for the Buchla 100

a simple VCF employing low-pass filter (allowing only lower frequencies to pass through)

this might only have simple settings for the cutoff frequency and resonance, with a voltage-controlled input for changing cutoff frequency.

low-frequency oscillator (LFO)

this oscillator circuit is restricted to subsonic frequencies and is an important source of modulation for other voltage-controlled modules

glenn gould

this performer described Carlos's interpretation of Bach's Brandenburg 4 as "the finest performance of any Brandenburg-live, canned, or intuited-I've ever heard.

Robert moog

this person was an engineer with a bachelor's degree in physics from Queens College, NewYork (57), electrical engineering degree from Columbia University, and a Ph.D. in engineering physics from Cornell (65)

Switched on Bach

this piece from 68 by Wendy Carlos was the smash success needed to propel the Moog synthesizer into the public's consciousness

force sensitive keyboard

this produced a control voltage proportional to the amount of pressure put on a key

Switched on Bach

this release from 68 became the top selling classical music at that time

delay

this term is borrowed from the tape composition practice of stringing a length of recording tape through two tape recorders, recording a sound on the first machine, playing it back on the second, and then simultaneously feeding the signal back into the first machine where it is recorded again.

Kinesthetic input port

this used flat, membrane contacts arrayed in the configuration of an organ-style keyboard. unlike conventional keyboards it was equipped with outputs for connecting the membrane "keys" directly to other voltage controlled inputs, allowing the port to act as both a performance interface and a simple, programmable aid for triggering other functions on the synthesizer.

regained the rights to Moog Music and minimoog trademarks in 2002, changed Big Briar back to Moog Music and resurrected the Minimoog w a new model called the Voyager.

this was Moog's late career arc

went out tune w/ temp. fluctuations (chords had to be created w one chord member at a time so it made it tedious)

this was another challenge of the Switched on bach sessions

there were 3-6 oscillators, and you adjusted them to track the octaves. pick a wave shape from the four available. there was a white noise source. there were envelopers that came from Ussachevsky: attack time, decay, sustain, and release (ramp up speed determined whether it sound like organ attack or plucked string.) decay fast for harpsichord.

this was the description of making switched on bach with the moog by Wendy carlos

Jazz images, a working and blues (64)

this was the result of Deutsch and Moog's first collab

author of this text

thom holmes

Juan blanco had this as far as his early equipment

three cheap tape recorders, a single audio oscillator, and a microphone

the ability to modify these elements is one of the most fundamental characteristics of electronic music

time and duration

An electric guitar is a guitar that uses a pickup

to convert the vibration of its strings into electrical impulses.

this was Wuorinen's stated goal of Time's Encomium

to explore the precise temporal control such as note-to-note distances and absolute time values that could be assigned by the synthesizer, mapping a sequence of pitch and time relationships

Jacqueline Nova mixed media works would combine things such as

traditional instruments with pre-recorded materials, including radio signals, modulated voices, and electronic sound distortion.

Robert Moog (1936-2005) while at Cornell made a

transistorized theremin

these have many functions but mainly are used for amplifying signals and switching control signals

transistors

these were the building blocks of electrical circuitry and the first stage of what make up the essence of computers and most other electronic devices

transistors

Transicion II sees Kagel

transitioning away from heavily electronic work to experiments for acoustic instrument.

Dr. Friedrich Trautheit (1888-1956) invented the

trautonium

this wave contains only the fundamental frequency and all of its odd-numbered harmonics

triangle wave

this wave features harmonic amplitudes that fall off in odd-integer ratios

triangle wave

this wave has more body and depth than a sine wave, somewhat like a muted horn

triangle wave

the novachord used less

tubes, but still had the capacity to control envelope, tone. could mimic many instruments of the orchestra

recording made using these and this were key to the early practitioners of musique concrete

turntables and magnetic tape

the idea of playing recording sounds in reverse (tape reversal) came from

turntablism

the RCA electronic music synthesizer Mark 1 was designed to produce

two channels of output that could be played on loudspeakers or recorded directly onto disc using a turntable lathe

Juan Blanco's Contrapunto Espacial required

two dozen instrumental groups scattered throughout the theater, actors, two magnetic tapes, and a sax soloist (a young Paquito D'Rivera)

pitch wheel (for bending notes) and mod wheel (for modulation)

two keyboard controls of the minimoog that were widely imitated were the

the choralcelo had

two keyboards, organ-like stops, and a 32-note pedal board. the lower keyboard used the tone wheel principle of the teleharmonium. Also used magnet to sympathetically vibrate a set of piano strings.

in 1958, RCA released the mark II which featured

two more channels, a second punched paper input device, additional audio oscillators, and several additional means for modifying sound, including high and low pass filters.

an oscillator source to control pitchblende when it was moved in one direction and was connected to a VCA to control amplitude when moved in the other direction

typically the joystick was connected

if a sound wave doesn't vibrate in a regular pattern it is perceived as

unhitched sound or noise

the CPEMC was the first notable

university based electronic music studio in North America

Fontana mix duration

unspecified and the composition was indeterminate of its performance.

the theremin has two antennae which are

upright (for pitch) and circular (for amplitude/loudness)

Xenakis did this with his early computer music

used the machine to calculate values for the complex parameters of scores for various sizes of instrumental groups

quantizing

used to align each note to the nearest beat in a preset tempo, locking all key strokes into a perfect tempo.

sound for the RCA mark I synthesizer made sound by

using a bank of tuning fork oscillators amplified with pickups to produce sine waves-a technology borrowed from the Olson-Belar music composition machine

original reverb effects of the BBC workshop were recorded

using an actual room rather than artificially by means such as spring reverberation

Jorge Antunes was interested in this

using multimedia things like changing lights and audience participation.

the coming of the transistor and especially its rapid adoption of american and Japanese manufacturers of radios, stereos, and tape recorders brought the reign of this tech to an end by the early 60s

vacuum tubes

here is the second example of oscillators through the decades in electronic music

vacuum tubes were used as oscillators in many early electronic musical instruments until the advent of the transistor in the 50s

this equipment found in the Siemens Studio fur Elektronische Musik included

vocoder, an electrically amplified reed instrument known as the Hohnerola, a preset sawtooth wave generator with 84 tone gradations, four variable-controlled sine wave generators, 20 special purpose sine wave generators, each with fixed settings that could be switched to sawtooth waveforms, and a white noise generator.

this is a method of applying metered amounts of current to an electronic component to govern how it operates

voltage control

VCO

was the basic sound generating source of the analog synthesizer

One trend of RAI

was the use of speech as sound material

the sound repeated by a tape loop does not

weaken

virtuoso player of the moog synthesizer

wendy carlos is recognized as the first

joysticks

were adapted for use on some performance synthesizers and combined both pitchbend and modulation voltage sources.

about 1960 the first Japanese electronic music composers sounded the way they did because they

were taught by people of the Cologne school

decibel should always state

what type of measurement it is using

expensive and quickly outdated proprietary methods that were unique to its own products

when a manufacturer chose to connect a computer with a synthesizer (before MIDI) it did so using

The move away from serialism in NWDR happened

when the use of echo and reverb were introduced.

step programming

when using a keyboard, a sequence could be recorded in real time as it was played or one note at a time using

player piano roll

whether recorded in real time or using step programming, the sequencer acted somewhat like this, keeping a record of the key depressions but not recording the sound of the notes themselves.

portable version that could be easily taken on the road, which led to the minimoog a simple, compact monophonic synthesizer designed for live performance situations

while the moog modular synthesizer was best suited for studio use, there was increasing demand for a

control voltage

while the signal is the sound itself, this affects the structure or flow of the sound and may itself be inaudible except in how it affects the audible signal

this is to those four basic waveforms what the color gray is to the primary colors: it is a combination of all of them, with no particular element dominating the mix.

white noise

this results when all the frequency and amplitude characteristics of a sound occur at random within the audio spectrum or contain energy at all frequencies within the audio spectrum

white noise

this sound is a continuous dense hiss

white noise

the noise generator on the Mark II could produce

white noise and other audio signals with a randomized arrangement of harmonics

this can be filtered, modulated, and otherwise refined to sound like such things as the wind or the ocean, and is a rich source of background sound and texture for the composer of electronic music.

white noise.

This is the sounds that Luening and Ussachevsky chose to manipulate

widening the sound spectrum of existing instruments and bringing out new romances from the existing world of instruments and voices.

The only recording means before WWII were the

wire recorders, disc recorders, and optical sound-on-film recording

the duty cycle and pulse width

with pulse width modulation (ppm) this can be modulated by a low-frequency oscillator to provide subtle, although detectable modifications of the harmonic spectra associated with a pulse wave

hardwired to the sound-generating and modifying circuits, greatly limiting their adaptability to all but certain preset values determined by the circuit builder

with the RCA Mark II, Raymond Scotts inventions, and the Siemen's engineers these machines were

gain

within the circuits this is a factor in modifying other aspects of a waveform because it affects the amplitude of the signal to be modified

the RCA Mark I had 12 tuning fork oscillators as well as two banks of vacuum tube oscillators that could make any pitch

within the range of normal human hearing (8,000 to 16,000 Hz)

this machine of the BBC workshop was an audio oscillator whose tone could be continuously varied by a second oscillator

wobbulator

if working without a variable speed tape recorder, a makeshift method of adding slight increases in transport speed and pitch could be accomplished by

wrapping the capstan with one or more layers of splicing tape

Daphne Oram's oramic instrument was not widely adopted by it did succeed in

writing or notating ideas for synthetic sounds that could be faithfully reproduced by a sound-generating instrument

0dB 1

x (unity) 1 x (unity) No difference