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Bass line  


Circuit bending  

Brandon Smith

Creation of new connections inside sound-generating electronic devices to provide sounds unintended by their original designers. A wide range of effects can be achieved, and extra tactile controls such as potentiometers, switches, photocells, and body contacts can be added to control the new effects, the most frequent modification being for pitch control. Often various ‘bends’ are found accidentally by arbitrarily connecting two different points on the circuit board. Circuit bending has attracted considerable attention among persons interested in experimental electronic music and synthesizers, and it can be achieved with limited electronics knowledge and construction skills. Because circuit bending calls for unauthorised, sometimes radical changes to the circuitry’s original pathways, it risks damaging or destroying the device being modified. Toys are often exploited for circuit bending because of their ubiquity and low cost and the small risk of electrical shock from their low voltage. Battery-operated toys such as the Texas Instruments Speak n’ Spell and the Casio SK-1 have latent sonic potential and are prime targets for tinkerers seeking such sounds inexpensively or at no cost and because they tend to ‘glitch’ easily, spewing out fragmented bits of digital speech and strange sounds. Examples of circuit-bent creations include electronic keyboards, sound modules, drum machines, effects pedals, and karaoke machines. Video bending uses these same methods to modify video-game consoles to make abstract visual patterns in addition to novel sounds....


Contratenor altus  

Owen Jander

(Lat.: ‘high [part] against the tenor’)

A line in polyphony lying just above the tenor. In the 15th century, as music came to be written in four rather than only three voices, composers approached the addition of the fourth voice by an extension of earlier compositional procedure. The most common arrangement of three voices had been superius (or cantus), tenor and Contratenor; in the new four-voice texture the composer used two contratenor parts, a contratenor bassus and a contratenor altus. The original method of writing these two voice parts is still evident in Pietro Aaron’s Il Thoscanello de la musica (1523), where ten rules set out ‘the method of composing the controbasso and the controalto, after the tenor and canto’ (bk 2, chap.21). In Italy ‘contratenorbassus’ was abbreviated to ‘bassus’, ‘controbasso’ or ‘basso’; ‘contratenor altus’ became ‘altus’, ‘controalto’, ‘contr’alto’, ‘contralto’ or ‘alto’. In France the term became Haute-contre. English usage was complicated because even in the late 16th century (by which time the word ‘contratenor’ had long been obsolete on the Continent) an alto part might also be called a meane, a contra, a counter or a ...


Dotted rhythms  

Stephen E. Hefling

Rhythms in which long notes alternate with one or more short notes, so called because the long notes are usually written with the aid of the dot of addition (see Note values). Dotted rhythms are found in mensurally notated music of all periods; this article, however, deals mainly with music of the 17th and 18th centuries, in which it was customary to alter certain sorts of written rhythmic values in performance (see also Notes inégales; for notational meanings of the dot before 1600 see Notation, §III). The principal issue is the degree to which such rhythms sounded uneven, rather than the specific manner of their notation (e.g. the dot may be replaced by a rest or tie).

Dozens of contemporary theoretical and pedagogical sources indicate that the dot was ordinarily equal to one half the value of the note or rest preceding it, just as it is today. But the treatises also present various exceptions. The dot could stand for a tie (...



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....


EMS (ii)  

Hugh Davies

revised by Anne Beetem Acker

[Elektronmusikstudion] (Swed.: ‘electronic music studio’)

The Swedish national centre for electronic music and sound art, in Stockholm. It was preceded by a smaller studio run by the Worker’s Society of Education from 1960. EMS was established by Swedish Radio in 1964 under music director and composer Karl Birger Blomdahl (1916–68), who hired the composer and performer Knut Wiggen (b 1927) to take charge of creating the studios. In 1965 an old radio theatre studio called the klangverstan (‘sound workshop’) opened for composers. Construction of a new facility was begun, but after Blomdahl’s death EMS became independent, funded only in small part by Swedish Radio, and otherwise by Fylkingen (a society for experimental music and arts) and the Swedish Royal Academy of Music.

Wiggen envisioned EMS as both a place to produce electro-acoustic music and a research institution that would give the composer ‘the possibility of describing sounds in psychological terms’. The studio was equipped accordingly. The sound sculpture ...



Mireille Helffer

Duct flute of Tibet. The term is used for all aerophones of the flute type throughout areas of Tibetan cultural influence; many are made of bamboo, some of wood (e.g. apricot) and brass. The transverse instruments (phred-gling, ti-gling), known in Bhutan as zur-lim, usually have six or seven fingerholes; they are used in secular music and resemble the Indian ...


Hub, The  

Anne Beetem Acker

Interactive computer network used as an extended musical instrument, played by a San Franciso Bay–area experimental computer network band also called The Hub. The band, founded in 1985 by Tim Perkis and John Bischoff, evolved from the League of Automatic Music Composers (1978–83). The concept of The Hub is to create live music resulting from the unpredictable behaviour of the interconnected computer system. The composer/performers consider their performances a type of ‘enhanced improvisation’.

Initially The Hub provided a custom-built central ‘mailbox’ computer and made use of a MIDI network providing communication between the composer/performers’ synthesizers. With the maturation of commercial MIDI equipment, the band shifted to using the Opcode Studio V multiport MIDI interface for their hub. Since MIDI is designed to allow one player or computer to control a group of synthesizers but not to allow a network of synthesizers to interact, band member Scot Gresham-Lancaster devised a way to program the system so the Opcode Studio V could route messages among all the synthesizers in the network....


Siemens Synthesizer  

Hugh Davies

Electronic composition machine (not a synthesizer in the current sense of the word), developed by Helmut Klein and W. Schaaf at Siemens & Halske in Munich between 1956 and 1959. It was designed for and was the chief component of the Studio für Elektronische Musik in Munich, which Siemens began planning in 1955, initially to produce the soundtrack for a one-hour publicity film; it was linked to all the other equipment in the studio. A second model was installed in 1964. The director of the studio and the composer most closely involved with the Siemens Synthesizer was Josef Anton Riedl; others who used the machine included the composers Mauricio Kagel, Bengt Hambraeus, Milko Kelemen, and Ernst Krenek, and the sound poet Ferdinand Kriwet. The studio was taken over by a foundation in 1963, and its equipment was moved to Ulm in 1967; it was later acquired by the Deutsches Museum in Munich....


Syrinx 2  

Anne Beetem Acker

Monophonic analogue synthesizer produced between 1982 and 1984 by Synton Electronics, a Dutch firm founded in 1973 by Felix Visser. The device was created by Visser along with the product specialist Marc Paping and product developer Bert Vermeulen. Synton originally built vocoders, but soon began importing and distributing Fairlight, E-mu, and Linn products in the Netherlands, Belgium, and Luxembourg. The Syrinx 1, created about 1975, was never produced commercially. Only 300 Syrinx 2 synthesizers were built. First priced under £400, but prized by collectors, originals sold for more than £1200 in the early 2000s. The device is not MIDI-compatible and has no presets, but includes two voltage control oscillators, a voltage divider, a noise generator, two ADSRs (attack decay sustain release envelope generators), two low-frequency oscillators, a pulse-width modulator, a ring modulator, and three voltage control filters. It features a mixer and a touch pad that can control pitch-bending and other parameters. All but the last series (which were mounted in a flight case), had a 44-note keyboard. The Syrinx 2 was distributed in the USA by Robert Moog. Synton went bankrupt in ...