You are looking at  1-4 of 4 articles  for:

  • Compositional Practice and Technique x
  • Keyboard Instruments x
Clear All

Article

Christoph Wolff

Member of Bach family

(18) (b Erfurt, bap. Nov 25, 1676; d Eisenach, June 11, 1749). Composer and organist, son of Johann Aegidius Bach (8). He studied with his father and about 1695 took up his first post, as organist at the Kaufmannskirche in Erfurt; in 1699 he went to Magdeburg, and in 1703 he replaced his kinsman (2) Johann Christoph (13) as town organist and court harpsichordist in Eisenach, a post which Johann Christoph’s son Johann Nicolaus (27) had declined. Repeated rises in salary show the esteem in which he was held, particularly in the court Kapelle, which was directed by Telemann in 1708–12.

His only extant works are instrumental; some of the organ works are in copies made by his pupils in Erfurt, who included J.G. Walther (according to Walther himself). Johann Sebastian Bach evidently valued his orchestral suites, for he had five of them copied (he himself was involved in some of the copying) for his collegium musicum in Leipzig. J.S. Bach’s obituary notice of ...

Article

Echo  

Murray Campbell and Mary Térey-Smith

The repetition of sound after a short time interval. In addition to the applications discussed below the term is used for a signal-processing device (also known as a delay) that produces a slightly delayed playback of sounds either by a tape loop or by digital delay; see Electric guitar §2 .

See also Organ stop .

Natural echoes arise from the reflection of a sound wave by a solid surface, such as a wall or cliff. For the echo to be perceived as distinct from the original sound, the extra path length travelled by the reflected sound wave must have a minimum value of around 17 metres, corresponding to a minimum time interval of 50 milliseconds between direct and reflected sounds.

The reverberant sound field in a concert hall is created by multiple reflections of sound waves. In a well-designed hall, the direct sound reaching a member of the audience is followed by a series of reflections within a time interval of around 35 milliseconds. These ‘early delayed arrivals’ are not heard as separate echoes; because of the ‘precedence effect’ they are perceived as a reinforcement of the direct sound. Subsequent reflections blend smoothly into the reverberation. A concave surface, focussing sound waves into a particular part of the hall, can give rise to an audible echo; a ‘flutter echo’ can arise from successive reflections between parallel walls....

Article

KIM-1  

Anne Beetem Acker

(Keyboard Input Monitor)

Computer designed by Chuck Pedal and Bill Mensch, both formerly engineers with the Motorola Corporation, and released by MOS Technology Corporation of Norristown, Pennsylvania, in 1976. It was next produced by Commodore Business Machines of Palo Alto, California, after they acquired MOS in 1977. It was originally intended as a training and development system for industrial applications. The TINY BASIC programming language could be run on the KIM-1 with extra memory, making programming far more accessible. Hence, the KIM-1 was the first microprocessor adopted by experimental composers and performers as an easier alternative to making their own custom circuitry. Jim Horton, an improvisational flutist and analogue synthesizer player, was perhaps the first to realize the musical potential of microprocessors. He purchased a KIM-1 in 1976 and mentored many of his colleagues in using it. The KIM-1 could directly generate audio or act as a controller for other electronic sound generators. Most important, it provided memory, so that the user could program a time-varying sequence of events; in other words, the program became the musical score. In ...

Article

Ian Mikyska

Composers’ collective and ensemble founded in Prague in 2002. Over the years, the organizing team has included a number of composers and instrumentalists, with the remaining core today being Tomáš Pálka[1], Michaela Plachká, and Ondřej Štochl[2].

Their programming includes canonical composers of the 20th century as well as younger artists. They hold a call for scores each year, and have presented a number of works by Czech composers of older generations (kopelent, slavický, smolka). Despite a general tendency towards quiet and contemplative aesthetics, they have also performed music by composers of the so-called New Complexity and from more standard post-avant-garde traditions, always with a view to creating a dynamic and compact programme.

Konvergence often collaborates with other ensembles on combined programmes with an unusually well thought out dramaturgy. Over the years, they have worked with ensembles such as Platypus, Adapter, the Fama Quartet, le concert impromptu, the Isang Yun Trio, and the Quasars Ensemble....