Professional Documents
Culture Documents
TapeMusic PowerPoint
TapeMusic PowerPoint
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Poème Électronique (1958)
Edgard Varèse
8’
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MAGNETIC TAPE
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MAGNETIC TAPE
1928: Fritz Pfleumer invented magnetic tape for sound recording (German-Austrian engineer)
1940s: Commercially developed in the late 1940s by American Jack Mullin with Bing Crosby
Reel to reel audio tape recording machines spread in 1950s with companies like Ampex
Using magnetic tape for recording and editing sound was the status quo until the mid 1990s when
(computers and digital audio recording).
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MAGNETIC TAPE RECORDERS
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HOW IT WORKS
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SPEED & BANDWIDTH
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EDITING TAPE
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THE ADVANTAGES OF TAPE?
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BASIC TAPE MANIPULATION PROCEDURES
1. Speed - transposition
2. Backwards - direction
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ELECTRONIC MUSIC RESEARCH CENTERS
PARIS - COLOGNE - NEW YORK - LONDON - MILAN - ETC
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TO RECORD OR TO SYNTHESIZE
France Germany
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MUSIC CONCRETE
& the Paris Studio
sound object
Liberated from its source, the sounds could then be used musically as a “sequence of sound objects.”
GRM (Research Group on Concrete Music) established by Pierre Schaeffer in 1951. Part of RTF, the main
radio station in Paris.
Among the composers who worked at the studio in the 50’s: Karlheinz Stockhausen, Olivier Messiaen,
Edgar Varese, Pierre Boulez, and Iannis Xenakis.
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PIERRE SCHAEFFER
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Pupitre D’Espace (1951) a system for realtime sound spatialization, using four Theremin-like rings to control the
intensity of four speakers: stereo pair, top and rear.
The central concept underlying this method was the notion that music should be controlled during public presentation
in order to create a performance situation; an attitude that remains in acousmatic music to the present day
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Pierre(s) - Henry & Schaeffer
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ELEKTRONISCHE MUSIK
& the Cologne Studio
An extension of serialism with all musical aspects carefully controlled, such as timbre, duration, volume, etc.
Things changed when Stockhausen took over in 1963 (even before Stockhausen)
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Karlheinz Stockhausen
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STUDIE II (1953)
Karlheinz Stockhausen Score Excerpt
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GESANG DER JÜNGLINGE (SONG OF THE YOUTHS) (1955-56)
Karlheinz Stockhausen
combines electronic sounds with prerecorded and manipulated sounds. Recorded on five distinct tracks and one of
the first surround-sound works.
Three sound sources: a boy soprano, generated sine tones, and generated noises (clicks).
Plays in the space between recognizable speech & ‘abstract’ sound. Phonemes translated to sound, vowels are sine
tones, consonants are bands of noises, plosives are impulses.
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KONTAKTE (1958)
Karlheinz Stockhausen
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Hugh Le Caine
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Brussels World’s Fair (1958)
The Philips Pavilion
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Brussels World’s Fair
The Philips Pavilion
CONCRET PH (1958)
drawn entirely from the sound of burning charcoal.
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Columbia-Princeton Electronic Music Center (1958)
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Piece for Tape Recorder (1956)
Vladimir Ussachevsky
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BBC Radiophonic Workshop (1958)
Daphne Oram, Brian Hodgson, Delia Derbyshire, David Cain, and many more...
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LOOK AT ORAMICS (1961)
Daphne Oram Drawing Sounds
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DOCTOR WHO THEME (1963)
Delia Derbyshire & Ron Grainer
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OTHER IMPORTANT ELECTRONIC MUSIC CENTERS
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POST WWII MILESTONES
1948 - Musique Concrète, abstract tape music. Pierre Schaeffer and Pierre Henry - l’ORTF radio station in Paris
late 1940s First privately-built studios. Louis and Bebe Barron (1948) & Raymond Scott (1946) (both in NY)
late 1940s - First multitrack tape recorder, popular & commercial music. Les Paul & Raymond Scott (in 2 weeks, Tu)
1951 - Elektronische Musik, music generated by electronic means. Herbert Eimert - Cologne Studio
1951 - Columbia University Studio, tape music. Otto Luening and Vladimir Ussachevsky
1950s Chance music, indeterminacy, live electronics. John Cage (Next Tuesday)
1957 - Computer music! Max Mathews working at Bell Labs (in 2 weeks - Th)
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