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Electronic music
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For electronic musical instruments, see Electronic musical instrument.
For other uses, see Electronic music (disambiguation).
See also: List of electronic music is electrically produced or modified sounds. ... two basic definitions will help put some of the first large-scale public demonstrations of computer music was a pre-recorded national radio broadcast on the NBC radio network program Monitor on February 10, 1962. In 1961, LaFarr Stuart programmed Iowa State University's CYCLONE computer (a derivative of the Illiac) to play simple, recognizable tunes through an amplified speaker that had been attached to the system originally for administrative and diagnostic purposes. An interview with Mr. Stuart accompanied his computer music.
The late 1950s, 1960s and 1970s also saw the development of a novel musical notation system for electronic music.[47]
Milton Babbitt composed his first electronic work using the synthesizer—his Composition for Synthesizer—which he created using the RCA synthesizer was a dream come true for three reasons. First, the ability to pinpoint and control every musical element precisely. Second, the time needed to realize his elaborate serial structures were brought within practical reach. Third, the question was no longer "What are the limits of the human performer?" but rather "What are the limits of human hearing?[48]
The collaborations also occurred across oceans and continents. In 1961, Ussachevsky invited Varèse to the Columbia-Princeton Studio (CPEMC). Upon arrival, Varese embarked upon a revision of Déserts. He was assisted by Mario Davidovsky and Bülent Arel.[49]
The intense activity occurring at CPEMC and elsewhere inspired the establishment of the San Francisco Tape Music Center in 1963 by Morton Subotnick, with additional members Pauline Oliveros, Ramon Sender, Terry Riley, and Anthony Martin. The center soon incorporated a voltage-controlled synthesizer based around automated sequencing by Don Buchla, and used in composition, as exemplified in a piece by Morton Feldman called Marginal Intersection. This piece is scored for winds, brass, percussion, strings, 2 oscillators, and sound effects of riveting, and the score uses Feldman's graph notation.
The Music for Magnetic Tape Project was formed by members of the San Francisco Tape Music Center in 1963 by Morton Subotnick, with additional members Pauline Oliveros, Ramon Sender, Terry Riley, and Anthony Martin), which was the resource on the U.S. west coast for electronic music during the 1960s. The Center later moved to Mills College, directed by Pauline Oliveros, where it is today known as the Center for Contemporary Music." from CD liner notes, "Accordion & Voice," Pauline Oliveros, Record Label: Important, Catalog number IMPREC140: 793447514024.
^ Doornbusch, Paul. "The Music of CSIRAC". Melbourne School of Engineering, Department of Computer Science and Software Engineering. http://www.csse.unimelb.edu.au/dept/about/csirac/music/introduction.html. |