Search Results

[orgue des ondes (Fr.: ‘organ of the waves’)]

Electronic organ designed by the organ builder Edouard Eloi Coupleux of Tourcoing and the radio engineer Joseph Armand Givelet in Paris in 1929–30, and produced under patents of 1934 and 1936. It was the first successful polyphonic instrument based on electronic oscillators (demonstrated already in Givelet’s monophonic piano radioélectrique in 1927) and the first electronic organ to be in regular use. In 1931 Charles Tournemire played the Coupleux-Givelet organ at the church of Villemomble. Up to the mid-1930s at least four were installed in churches in France and Switzerland and one at the Poste Parisien broadcasting station (hence the instrument’s alternative name). The prototype contained only 12 oscillators, the signals from which were routed through frequency doublers; this rather primitive system in which each oscillator signal could be transposed only to other octave positions did not permit the simultaneous sounding of octaves. The finished organs normally had two manuals, with one easily tunable oscillator for each note, necessitating a total of 250 to 700 valves. The Poste Parisien organ (...

[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 ...

Many encoding formats exist today to represent music, such as DARMS, NIFF, and MusicXML for score typing and publishing, Csound, MIDI, and SASL/SAOL for computer-generated performances, and AAC, MP3, and MPEG for audio and video recordings. These formats capture specific aspects of music but are unable to encode all of these aspects together.

First proposed in 2001, the IEEE Standard 1599 has been developed to allow interaction with music, such as notes and sounds in video applications, and in ad hoc interactive devices by providing a technological framework that makes prerecorded music and related media content navigable and interactive. This is achieved by the use of layers that combine encodings of music with structural and logical representations to allow alternative versions and random access within the piece. These layers are logically organized and synchronized by XML files consisting of symbols that represent an event, referring and pointing to different instances of the same event in the various layers....

[GTCMT]

Interdisciplinary research centre for music, computing, engineering, design, and business, founded in 2008 at the Georgia Institute of Technology in Atlanta. The Center focuses on the development and deployment of transformative musical technologies, and emphasizes the impact of music technology research on scholarship, industry, and culture. In 2012 the Center had 23 faculty members.

Numerous projects have involved the development of new musical instruments, particularly mobile instruments for smartphone devices; robotic musicians that can listen to and collaborate with human performers; and novel instruments and interfaces designed for health and educational applications. GTCMT research projects have received many grants, mostly from the National Science Foundation. Two spinoff companies, ZooZ Mobile and Khush, have commercialized research results to produce mobile music creation applications.

Though the GTCMT does not have a direct educational mission, it collaborates closely with the university’s School of Music, and several of its faculty members teach courses and advise students in Georgia Tech’s Master of Science and Ph.D. programmes in music technology. The GTCMT presents concerts featuring new instruments, and related events, notably the annual Margaret Guthman Musical Instrument Competition, co-sponsored since ...

(b Bermuda, July 10, 1957). American audio engineer, musician, and owner of Keith McMillen Instruments, based in Berkeley, California. He received his BS in acoustics from the University of Illinois, where he also studied classical guitar and composition. In 1979 he founded Zeta Music, which designed and sold electric and electronic violins and basses. In 1992 he organized a research laboratory for Gibson Guitars. He developed a computerized composition, notation, and performance system, and also helped devise ZIPI, a MIDI-like music control language. At the Center for New Music and Audio Technologies at the University of California, Berkeley, he researched audio networking, synthesizers, and string instruments. In 1996 he became director of engineering for the audio processing and distributed music networks division of Harmon Kardon. In 1999 he founded Octiv, Inc., an Internet audio signal processing company, which produced the ‘Volume Logic’ plug-in for iTunes that allows digital audio remastering to improve the sound produced by computers and MP3 players....

(b Madison, WI, 1979). American sound artist, installation artist, electronic composer, laptop performer, and visual artist. Based in Los Angeles, he has collaborated with Will Long, Mise_En_Scene, and Marc Manning, among others, and exhibited and performed throughout the United States and Europe. He owns and operates Dragon’s Eye Recordings, which promotes promising but under-recognized sound artists and composers.

Novak’s installations, along with his electronic compositions and performances, typically consist of quiet, subtly shifting textures. These sounds are often field recordings of environmental sounds, digitally transformed into exquisite drones or slow-moving melodies, as in +ROOM (2009). Novak’s work is often associated with Ambient music, demonstrating the fluid, and indeed questionable, nature of the boundary between music and field recording or, generally speaking, between music and sound art. However, unlike ambient music, Novak’s pieces are often programmatic. The goal, in many of his works, is to transform documentation into narrative by digitally altering prerecorded sounds and images. His alterations often consist not of fleshing out sounds and images by adding to their characteristics, but of digitally erasing their distinguishing features. He may obliterate the movement that we typically see in video, reducing it to a static expanse of color. Similarly, he alters environmental sounds beyond recognition into contemplative textures....