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giance to a very different set of aesthet- paper tape control system to regulate a 9. Credit for similar discoveries is also due to another
ics than those of Paris or Cologne, these German artist with Bauhaus connections, Rudolf
comprehensive range of synthesis and
Pfenninger. Pfenninger's work on drawn sound led
composers wielded the razor blade with processing facilities transformed the tech- to a pioneering demonstration film, TonendeHand-
equivalent precision and purpose, using nology that had originally inspired the Pi- schrift (1932). See also Robert Lewis and Norman
short extracts selected from all manner anola into a powerful, programmable McLaren, "Synthetic Sound on Film," Journal of
the Society of Motion Picture Engineers 1 (1948)
of recordings to create abstract works of means of creating electroacoustic music pp. 233-247.
significant complexity and diversity. without the intermediate assistance of a
10. Fischinger and Moholy-Nagy experimented ex-
Works such as ImaginaryLandscapeNo. 5 tape recorder [39]. tensively with these possibilities.
and WilliamsMix by John Cage formed By the mid-1960s, the concept of inte-
11. Kandinsky'sinterests in linking visual images with
part of this venture, the editing flexibil-grated design had led to the commercial theories of mtsical timbre were strongly stimulated
ity of magnetic tape proving invaluable voltage-controlled synthesizer,launching by his association with Schoenberg. Futurists such as
in the prosecution of Cage's interests in a technology that offered increasingly Luigi Russolo and Bruno Corra were also interested
in the association of sound with color.
the use of chance as a tool for compos- powerful and versatile facilities for both
ing. These random-selection tape tech- composition and performance [40]. 12. Unfortunately, none of his experimental materi-
als have survived. See Roger Horrocks, 'Jack Ellitt:
niques were revisited for the construction Tape-based composition, however, was to The Early Years," Cantrills Film Notes (1999-2000)
of Fontana Mix, completed in the Studio remain a popular medium for a number pp. 93-100.
di Fonologia Musicale, Milan, in 1958 of years, its eventual demise being her-
13. Sadly, only Allegro(1939) was to survive and even
[36]. In 1955 the Canadian scientist and alded by the development of digital this film eventually disintegrated as a result of too
composer Hugh Le Caine completed the recording and an increasing emphasis on many performances.
prototype for a multi-track tape recorder computer technology. 14. Other artists, such as Arseny Avraamov, carried
that allowed six different reels of tape to What has nonetheless been lost in out similar experiments in the USSR.
be played simultaneously, with indepen- these changes is the intimate and very 15. Aspects of this technology were subsequently
dent control of their playback speeds. productive relationship that developed adapted for the ANS synthesizer, developed at the
This extension of the tape loop princi- between many composers and the phys- Moscow Experimental Studio in 1958 and named
after Alexander Nikolayevich Scriabin.
ples used in the design of Schaeffer's ical representation of their sound mate-
Phonogenes led to five different pro- rials as tangible objects to be handled 16. See John Whitney, "To Paint on Water: The Au-
diovisual Duet of Complementarity," ComputerMusic
duction versions over the following 12 and manipulated as entities in their own Journal 18, No. 3, 45-52 (1994).
right. For all the additional sophistica-
years, the first being installed at the Uni-
tion offered by modern graphicallybased 17. Further details of Oramics can be found in
versity of Toronto in 1959. Daphne Oram, An Individual Note: of Music, Sound,
sound-editing facilities, not least the abil- and Electronics (London: Galliard; New York: Galaxy
ity to manipulate the physical character- Music, 1972). (Oram's piece, FourAspects,appears on
NEW HORIZONS: THE END istics of sound waves in a visual Not Necessarily English Music, Vol. 11 of the Leonardo
MusicJournal CD Series. A note about her work, writ-
OF A PIONEERING ERA environment, the clicking of the editing ten by Hugh Davies, is included in LMJ11's CD Com-
The late 1950s proved a watershed in the mouse offers a very different type of cre- panion section.)
evolution of electroacoustic music. Tra- ative experience. 18. See Glossary.
ditional concepts of studio design
19. See, for example,John Cage's essay "The Future
reached their zenith with a second wave References and Notes of Music: Credo" (1937), reproduced in John
of studios that, like their predecessors, Cage, Silence (London: Caldar and Boyars, 1968)
1. See Herbert Russcol, The Liberation of Sound (En-
relied upon the tape recorder as both a pp. 3-6, and Edgard Varese's 1937 address to a meet-
glewood Cliffs, NJ: Prentice-Hall, 1972) p. 68. ing of the Seattle Arts Society, reproduced in
general-purpose recording medium and 2. The Hochschule fur Musik in Berlin took an early Fernand Ouellette, Edgard 'airese, Derek Coltman,
a primary tool for shaping and manipu- institutional lead in 1928, facilitating a research pro- trans. (London: Caldar and Boyars, 1973)
pp. 146-147.
lating sound material. This period of ex- gram in the manipulation of phonograph records in-
both Hindemith and Toch.
pansion embraces both the Studio di volving 20. Since the film industry subsequently migrated
established in 1955 towards magnetic sound tracks, it is somewhat ironic
Fonologia Musicale, 3. During the recording process, acoustical wave- that the digital revolution has re-established the for-
Luciano Berio and Radio Audizioni forms are converted into equivalent oscillations via
by a cutting stylts, used in turn to register a corre- tunes of optical sound recording within the film in-
Italiani (RAI) in Milan, and the San Fran- sponding pattern of vibrations in the record groove. dustry.
cisco Tape Music Center (SFTMC), es- These patterns are clearlyvisible tinder a microscope. 21. See Pierre Schaeffer, A la recherche d'une musique
tablished by Ramon Sender and Morton 4. See Glossary. concrete(Paris: Editions du Seuil, 1952).
Subotnick in 1959 [37]. Both centers of 22. The associated resonant peaks are especially
5. The RCA system uses a Variable Area format
creativity drew freely upon the role mod- whereby fluctuations in the audio signal are regis- prominent if the playback stylus directly drives an
els of musique concreteand elektronische tered as variations in the width of sound track ex- acoustic horn.
to light during recording and thus rendered
Musik, breaking down further the ideo- posed when the film is developed. The rival system 23. These technical requirements provided an in-
opaque
logical boundaries associated with these developed by Western Electric uses a Variable Den- teresting bonus, since they facilitated early experi-
mentation with spatial projection using independent
pioneering developments. sity format whereby these fluctuations are repre-
sented by corresponding variations in the overall loudspeakers for each turntable. This was first ex-
This expansion increased the pressure in Symphonie pour un homme seul, composed
opaqueness of the entire sound track. plored
for improvements to the technology, not jointly by Schaeffer and Pierre Henry and performed
6. The variations in the solid profile are analogous live at the first public concert of musique concrete,
least in terms of reducing the high de- to the outline of a dark mountain range observed at staged in the hall of the Ecole Normale de Musique,
pendency upon manual cutting and ed- a distance against a bright skyline. Paris, on 8 March 1950.