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| Groupe de Recherche de Musique-Concrète |
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| Pierre Schaeffer and Pierre Henri |
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| What musical techniques were used at GRM |
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| Pre-recorded sounds, tape decks, speakers microphones |
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| Studio fur elektronische Musik des Westdeutschen Runfunks |
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| Eimert Herbert and Karlheinz Stockhausen |
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| What musical techniques were used at GRM |
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| Synthesize sounds from scratch and manipulate them in the studio; control every detail of the sound |
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| sound experienced as pure sound without reference to its source |
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| A mode of listening that produces the experience of sound without regard to what produces it |
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from the Greek akousma meaning a thing heard
music that is a form of electroacoustic music that is specifically composed for presentation using speakers as opposed to live performances |
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| Founded GRM; Pioneer of electronic music; Invented music concrete by using recorded manipulated sound |
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| Pioneered by Pierre Schaeffer who created the first completed works; crafted only using turntable technology and some basic radio studio equipment (mixer, reverb, chamber, filter) |
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| An absolute beast of an electronic music pioneer. William's Mix was an insane feat of scored cut tape of different sounds meticulously pasted together. |
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| Created by Pauline Oliveros, a student of John Cage, described it as "an aesthetic based upon the priciples of improvisation, electronic music, ritual, teaching, and meditation. The aesthetic is designed to inspire both trianed and untrained performers to practice the art of listening and responding to environmental conditions in solo and ensemble situations." |
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| Invented by Edouard-Leon Scott de Martinville in 1857; it created a visual recording of sound which was used to study sound and voice and had no playback |
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| "Invented" by Thomas Edison; records and plays back sounds on tin foil originally and later wax cylinders; wanted to use it for only commercial means |
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| Invented by Emile Berliner in 1887 which was for music and audio and used vinyl records instead of cylinders |
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| Disk vs. Cylinder qualities |
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| cylinders allowed for at home recording and playback, but disks were louder, cheaper, and had better wuality |
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| first patented as iron oxide on paper and improved by AEG in the 30s; 3M created a more durable acetate tape |
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| Invented a mixing technique called slip cuing |
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| DJ's use this technique to mark vinly records where they want to move the song to |
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| One of the inventors of turntablism and his technique was developed alongside hiphop |
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| Father of Hip Hop; known for isolating the break |
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| A technique John Cage used to change the timbre of a piano |
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| Invented the teleharmonium; had a vision to transmit sound to remote locations |
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| Used synthesizing for adding tones to create composite tones generated by electromechanical means; was massive and power hungry, had cross talk on the phone lines, lowered in volume with more notes added, and had a timbre people didn't like |
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| They had a fascination with machinery, technology, and defiance of the status quo; talked about music concrete and noise is great music, and wanted music to be undanceable |
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| Created new mechanical instruments called Intoamromoi and proposed making music from ambient noise and sounds from the environment many years before any effective way of making remote audio recordings |
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| Invented by Luigi Russolo and used mechanical means to generate loud droning sounds; were made of wood and metal and ended up destroyed in a bombing. |
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| Invented the theremin, an electronic instrument that used heterodyning to generate sounds; also invented the first drum mahchine the Rythmicon, theremin cello, theremin keyboard, electromagnetic television and interlaced video, the first burglar alarm, the Terpsitone which turns dance into tones, and the "Thing" the first spy bug |
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| Made the theremin very popular |
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| Created a theremin like keyboard that was capable of advanced expression like vibrato |
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| Invented by Friederich Trautwein and Oskar Sala; was used in Alfred Hitchcock's "The Birds". Had a large range of sounds and expression capabilities. |
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| Originally designed for churches; uses a drive train to generate sounds and is purely mechanical; the draw bars could be used to control amplitude and harmnonics |
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| Run by Raymond Scott; invented the clavivox and had a huge 6ft high 30ft long computer to synthesize sound |
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| Showcased many electronic music pieces; The entrance music was "Concret PH" by Iannis Xenakis; Main music in the pavilion, which was designed by Phillips Laboratories, was Edgard Varese's "Poem Electroniuqe". It was synchronized bwith a black and white film by Le Courbusier that discussed themes on human existence. The sound was played on 350 speakers mounted on walls with 10 of them on the floor. |
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| Created one of the first electronic and tape music studios in Greenwich Village NYC. Composed the first electronic music for magnetic tape and helped other avant-garde composers (e.g. John Cage William's Mix). Created circuits for generating sound and music inspired by Norbert Wiener's Cybernetics. Composed the soundtrack for Forbidden Planet which was the first entirely electronic film score. |
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| The first entirely electronic film score for a movie. It was a sci-fi film obvi. |
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| A book about self regulating mechanism that was speculative fiction |
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| Composed using tape manipulation techniques as well as a famous soprano Cathy Berberian. His use of recorded vocals set him apart from other electronic musicians at the time. |
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| Edgard Varese's definition of music |
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| "I prefer to use the expression 'organized sound' and avoid the monotonous question: 'But is it music?' Organized sound seemed better to take in the dual aspect of music as an art-science, with all the recent laboratory discoveries which permit us to hope for the unconditional liberation of music, as well as covering, without dispute, my own music in progress its requirements." |
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| A vibration that propagates as a typically audible mechanical eave of pressure through a medium such as air or water |
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| Peridoic waves repeat, think 1/3 = 0.3333...; have a tone |
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| A none repeating wave, think pi; don't have a tone. |
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| Waveforms are noisy but also have pitch like timpani or a bell |
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| Calculated by the speed of sound divided by the frequency[image] |
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| The period (in seconds) is equal to 1 over the frequency. The frequency is equal to 1 over the period [image] |
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It is variable and based on air pressure; at sea level it is 343 m/s;
it can be calculated by multiplying the frequency by the wavelength [image] |
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| moving objects change the the frequency of waves relative to the observer |
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| Also known as the overtone series; the sequence of harmonics, musical tones, or pure tones whose frequency is an integer multiple of a fundamental frequency |
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| sends the input sound out the output at a later time; has a wet/dry mix; feedback sends the output back to the input creating multiple echoes |
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| creates the effect of many echoes and reflections that occur in an enclosed environment; reflections generally get quieter over time; decay time or T60 determines how long the echoes take to reduce by 60dB |
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| creates the sound of multiple voices by making versions of the sound that slightly speed up and slow down alternately |
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| created by moving notches in the spectrum; a comb filter a series of notches evenly spaces across the spectrum |
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| Adds frequencies to a sound that were not present before; same effect can be achieved by overdrive, wave shaping, or models of amplifiers |
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| Philosopher about the role of sound and image |
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| any sound that enriches something or creates emphasis |
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| the forging of an immediate and necessary relationship between something one sees and one hears |
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| music that directly expresses the feeling of the scene |
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| Another philosopher of sound and image created a spectrum of of encoded and embodied sound. On one end encoded sound is sound which is experienced directly and conveys a message, embodied sound is any sound that doesn't add to a message. Sound effects tend to be in the middle. |
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| How many points of a sound waves are logged by a digital recording medium |
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| The highest frequencies that can be coded by a given sample rate. It dictates the sample rate must be twice the highest frequency. [image] |
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| Whether the sound heard by the audience is heard in the world of the characters. |
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| Used for high amplitude sounds and require no power; The diaphragm vibrates a coil in a magnetic field which acts as the transducer. |
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| Requires 48v phantom power due to the need to power an internal preamp to raise the signal due to their high impedance; more sensitive than a dynamic; the diaphragm serves as part of a capacitor; the change in capacitance turns into the output voltage |
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| A passive microphone where a thin piece of metal serves as a both diaphragm and transducer. The impedance of the preamp will change the sound. |
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| What happens with a low sample rate |
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| It can cause aliasing due to frequencies above the nyquist frequency appearing |
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| The precision with which each sample is taken, determines the accuracy which the sound can be played back |
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| The just noticeable difference between two stimuli is proportional to the magnitude of stimuli |
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| Difference between frequency and pitch |
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| One is the physical property of sound the other has to do with the perceived highness or lowness of sound |
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| The more space a sound needs to diffuse the more energy it needs to fill the space |
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| What is loudness measure in |
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| Shows how loud a frequency must be to be perceived as the same loudness at 1000Hz |
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| The ear drum vibrates and sends the vibrations through three bones in the inner ear, then vibrates fluid in the cochlea across the organ of corti, little hairs which detect frequency |
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| If there is more than two and a half things happening on screen, audio doesn't need to be synced |
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| named after Roger Shepard, is a sound consisting of a superposition of sine waves separated by octaves |
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