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Daniele Buccio

(Noel )

(b Milwaukee, WI, 1951). American composer, teacher, keyboardist and sound designer. Koykkar’s principal composition teachers have been john c. Eaton , Dennis Kam and John Downey. He spent two years as composer-in-residence with the Artists-in Schools Program in Virginia (1978–80) and studied at the University of Miami (DMA 1983). He has received grants and awards from, among others, ASCAP, Truman State University, Meet the Composer, the American Music Center, the National Endowment for the Arts, and the Pew Charitable Trust for Music. He has held visiting fellowships at various festivals, seminars, and institutes in the United States and Europe. He has also served as president of the Wisconsin Alliance for Composers (1990–3).

Koykkar’s works have been performed in Europe and the Americas by ensembles such as the New York New Music Ensemble, California EAR Unit, Relache, Compagnia Brasileira De Music, and Slovak Radio Symphony, among many others. His musical syntax seeks to produce musical gestures that can be perceived as outgrowths of preceding ones, gradually transforming over time. In works that range from music for dance and film-video to computer and electronic music, Koykkar tends to achieve perceptual clarity and economy of musical materials in such a way that popular and cultivated traditions both find their place as sources of inspiration. As a faculty member at the University of Wisconsin–Madison since ...


Ryan Dohoney

(b Paris, France, Oct 20, 1950). American composer, keyboardist, electronic musician, and improviser of French birth; naturalized American; daughter of jazz pianist and drummer Errol Parker. She began studying piano and harmony at age 7 and composing at 12. Lauten received a bachelor’s degree in economics from the Institut d’Études Politiques in 1971. The following year she relocated to New York City, where she participated in the burgeoning punk rock scene. Through guitarist Denise Feliu, Lauten met the poet Allen Ginsberg, who would have a significant impact upon her spiritual and musical life.

Lauten’s compositional and improvisational practice is exemplary of the musical aesthetics of downtown New York in the 1970s and 80s. A practitioner of both US popular music and European classical music, Lauten blended the two styles with minimalist experimentalism. Lauten’s studies in New York City brought her into contact with the varied denizens of downtown musical life. She studied Indian raga with ...


Daniele Buccio

(Henry )

(b Canton, OH, Aug 18, 1905; d West Redding, CT, July 31, 1978). American composer, violinist, bandleader, recording engineer, and producer. After graduating from Johns Hopkins University, he performed as a light classical violinist in the United States and Europe. During the 1930s he studied conducting with Maurice Frigara in Paris. After a near-fatal car accident in 1940, he organized his own dance band, the Light Brigade, which recorded for RCA and Columbia. After he disbanded it at the turn of the decade, Light devoted himself to management, working for several record companies before becoming president of Waldorf Music Hall Records in 1954. He founded his own label, Grand Award, in 1956 and had success with Dixieland and honky-tonk piano albums. In 1959, he founded Command Records on which he released Persuasive Percussion, the first in a successful series of high-fidelity albums that used stereo technology to great advantage. Over the next two decades, he continued to produce hit albums drawing on the latest technological savvy and packaged with covers usually designed by Josef Albers. Musicians who appeared on Light’s albums include the Free Design, Doc Severinsen, Dick Hyman, Bobby Byrne, and Bobby Hackett. In ...


Hans Heinrich Eggebrecht

(b Dresden, June 18, 1909; d Bad Reichenhall, June 13, 1997). German acoustician. After attending the Technische Hochschule in Dresden (1928–9), he studied at the universities of Kiel, Tübingen and Berlin (where he was a pupil of Biehle). His work with M. Grützmacher and Gurlitt during this period stimulated his later research. In 1935 he received a doctorate in physics at the University of Berlin with a dissertation on reed pipes. From 1936 to 1945 he worked first in the State Institute of Physics and Technology in Berlin-Charlottenburg and later was independently employed in the physics department of Tübingen University. In 1952 he began work in the Federal Institute of Physics and Technology in Brunswick, becoming administrative adviser in 1953, chief adviser and head of the acoustics laboratory in 1956, and in 1968 professor and director of the institute. He retired in 1971.

Lottermoser conducted extensive research into the acoustics of instruments, especially the organ and violin, and into the physiology of hearing them. Through his articles on differing architectural styles in churches he contributed to the study and improvement of spatial acoustics....


William Waterhouse

(b Brussels, March 10, 1841; d St Jean-Cap Ferrat, June 17, 1924). Belgian organologist, acoustician and wind instrument maker. He was the son of the maker C.B. Mahillon , with whom he collaborated from 1865. In 1877 he accepted the curatorship of the newly created Musée Instrumental du Conservatoire Royal de Musique in Brussels. Over the next half-century he systematically built up the collection to become the largest and most important of its kind in the world with over 3300 items. These he proceeded to catalogue meticulously, publishing five volumes that set new standards of scholarship for his time. He prefaced the first volume (1880) with an ‘Essai de classification méthodique de tous les instruments anciens et modernes’, the first attempt to formulate a systematic classification of musical instruments. Though this scheme has since been slightly revised, notably by Hornbostel and Sachs in 1914, it remains essentially valid today. For these achievements, he has been hailed as ‘truly the Father of Organology’ (Baines). The author of several authoritative texts on acoustics and practical aspects of wind instruments, his interests also covered many other fields: for the authentic performance of early music he built pioneering prototypes of oboe d’amore, basset-horn and high trumpet. He reproduced rare models of historic woodwind instruments (many obsolete) for his own and for other collections. He took out various patents (some in collaboration with other family members) for improvements to woodwinds and brass and also officiated at a number of international trade exhibitions. In ...


Jonas Westover

(b Utica, NY, Oct 20, 1944). American Disc jockey, producer, and party planner. He spent his youth listening to records with a racially mixed crowd and then relocated to New York in the early 1960s. Moving to a loft (known later as “The Loft”), Mancuso became involved designing sound systems for clubs around the city, including Larry Levan’s Paradise Garage. He began to host invitation-only parties in the mid-1960s for which he spun a wide range of musical styles; many of the guests, including Tony Humphries and Frankie Hawkins, would become DJs themselves. Later parties took on titles and became special events, including “Love Saves the Day,” which took place in 1970. In 1974 Mancuso and Steven D’Aquisto developed a shared record pool for local DJs. His parties continued at The Loft until 1985, when he began to search out new locations offering more space. After 1995 Mancuso began to hold the parties in a variety of other locations, sometimes outside of the United States. Two CDs, both entitled ...


Hugh Davies

( 1910–95). French radio engineer and designer of electronic instruments. In Versailles in 1932 he began the research that culminated in 1943 with his first electronic organ, exploring nearly ten methods of sound production. In 1936, in collaboration with the harmonium manufacturer P. Petitqueux, he developed the Mutatone, an electro-acoustic harmonium that used electrostatic pickups to amplify the vibrations of the free reeds; it was demonstrated at St Odile, Paris, in 1939. In 1937 he produced an electric carillon.

After World War II a range of small one- and two-manual electronic organs was manufactured under licence from Martin as ‘Orgues Constant Martin’ (1945–9), including the popular Organium, which has a single splittable manual (the point at which the split occurs can be varied by a selector switch within the range of a minor 3rd). As with all of Martin’s instruments, the sounds are generated by an oscillator for each note. About ...


Anne Beetem Acker

(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....


Murray Campbell

(b Brunswick, March 16, 1933). German acoustician. In 1957 he enrolled in the Technical University of Brunswick as a student of electronics and music, becoming a research scientist in the acoustics laboratory at the Physikalisch-Technische Bundesanstalt in Brunswick in 1958. In 1960 he was awarded the doctorate by the Technical University for a dissertation on the behaviour of organ flue pipes, supervised by Martin Grützmacher. Meyer was appointed head of the acoustics laboratory in 1971, and under his direction the laboratory established an international reputation in musical instrument acoustics, room acoustics and psychoacoustics. At the Musikhochschule in Detmold he became a lecturer (1968) and professor (1980); in 1985 he became head of the audio acoustics department at the Physikalisch-Technische Bundesanstalt in Brunswick, retiring in 1996. A skilled violinist and conductor, his musical background has informed his research on the influence of acoustics on performance. Meyer has carried out definitive studies of the directional properties of instruments and the platform placing of orchestral groups. He has also given numerous public lectures involving acoustical demonstrations by live orchestras. President of the German Acoustical Society between ...


R.W.B. Stephens

revised by James F. Bell and Murray Campbell

( b Strongsville, OH, March 13, 1866; d Cleveland, Feb 22, 1941). American acoustician . He studied at Princeton (DSc 1890) and held appointments there before becoming head of the physics department at the Case School of Applied Science, Cleveland. He was an accomplished flautist, and wrote extensively about the instrument, provided a catalogue of literature on the flute, and gathered an important collection of flutes (now in the Library of Congress, Washington, DC). His most important contribution as an acoustician was the development in 1909 of the ‘phonodeik’, which incorporated a diaphragm of thin glass closing the end of a receiving horn; this allowed him to analyse waveforms of various instruments – by means of a thin wire attached to the centre of the diaphragm, which passed over a spindle pulley, the rotation of the spindle (due to movement of the diaphragm) was recorded by light reflected from a mirror affixed to the spindle. He also carried out experiments on organ pipes and trumpets having walls of different thicknesses, although his conclusions about the desirable qualities for the containing walls of an instrument have been challenged by more recent studies. He became an expert on engineering acoustics and was responsible for the design of many concert halls. His 32-element harmonic synthesizer won him a medal from the Franklin Institute....



Stephanie Conn

[Hall, Richard Melville ]

(b Harlem, NY; Sept 11, 1965). American Electronic musician, composer, and DJ. Growing up in Connecticut, Moby (a childhood nickname) studied classical guitar and music theory before founding the suburban punk band Vatican Commandos at age 14. He later learned to play bass guitar, keyboard, and drums. While studying philosophy at University of Connecticut he played with post-punk band AWOL, leaving in 1985 to become more active as a DJ and electronic musician and eventually moving to New York City.

He is critically recognized for his creative combining of electronic house music and judiciously chosen samples; he has also achieved worldwide popular success and brought the genre to mainstream attention. His 1991 single “Go,” which included a sampled theme from David Lynch’s cult TV series Twin Peaks, reached the UK top ten. His breakthrough album Play (1999) sold 10 million copies worldwide in the first year and yielded eight hit singles including “Porcelain,” “Natural Blues,” and “Why does my heart feel so bad?” ...


Mark D. Porcaro

(b New York, NY, May 23, 1934; d Asheville, NC, Aug 21, 2005). American designer of electronic instruments. He became interested in electronics during his teens after encountering the theremin. While in high school he provided schematics and descriptions of his own theremin for Electronics World, a hobbyist magazine. After graduating in 1952 he started the R.A. Moog Co. with his father’s help to create and sell mail-order theremin kits from his home. Moog studied physics at Queens College, New York, electrical engineering at Columbia University, and graduated in 1965 with a PhD in engineering physics from Cornell University.

In 1964 Moog worked with the composer Herb Deutsch to create a monophonic synthesizer consisting of a variety of modules of voltage-controlled oscillators, amplifiers, envelope generators, and filters linked together by patch chords and controlled by a keyboard. The Moog synthesizer was the first to use Vladimir Ussachevsky’s envelope generator—known as an attack, decay, sustain, and release envelope—which could shape the timbre of a pitch by modifying its amplitude over time. Moog demonstrated his new instrument at a convention that year for the Audio Engineering Society, where he also took the first orders for his new instrument....


Richard S. James

revised by David Revill

(b Framingham, MA, March 30, 1935). American composer and performer of electronic music. He attended the School of Music (1952–3) and Institute of Science and Technology (1959–62) of the University of Michigan and studied composition, piano and the horn privately. As a composer and performer he co-founded and worked with the Cooperative Studio for Electronic Music in Ann Arbor (1958–66) and the ONCE Group (1960–68). Mumma also collaborated with Milton Cohen's Space Theater in Ann Arbor (1957–64) and in New York with the Merce Cunningham Dance Company (1966–74) and the Sonic Arts Union (from 1966). With these ensembles and as a soloist, he toured widely in the Americas, Europe and Japan. From 1973 to 1992, he taught at the University of California, Santa Cruz; he has also held numerous visiting lectureships, including Darius Milhaud Professor at Mills College (...


Murray Campbell and Clive Greated

(Johannes )

(b Schiebroek, Netherlands, July 31, 1932). Dutch physicist and acoustician. At Delft University he obtained a degree in technical physics (1956) and took the PhD (1969). The major part of his professional career has been spent at TNO (Netherlands Organization for Applied Scientific Research). He is an accomplished jazz clarinettist. His most important contribution has been to the fundamental acoustics of woodwind instruments. In aiming to find more rational design procedures, he has made a comprehensive theoretical analysis of the resonance of tubes, incorporating the effects of side holes, bends, mouthpieces and reeds. This allows detailed calculations to be made of the hole positions in a woodwind instrument and predictions to be made about aspects of tuning and tone quality. His findings are presented in Acoustical Aspects of Woodwind Instruments, which has become a standard text for designers of woodwind instruments.

‘New Key Mechanism for Clarinet’, ...


John Rockwell and Gregory Sandow

(b Anderson, IN, Oct 2, 1933). American composer and multimedia artist. He graduated from Indiana University in 1956 with a degree in economics. After taking up photography, he moved to New York. He joined the Experimental Intermedia Foundation in 1968 (director from 1985) and was appointed to teach film, video and photography at the College of Staten Island, CUNY in 1971. An important early musical influence was Morton Feldman, but the seed of his musical invention was most firmly planted in the mid-1960s when he rode a motorcycle up a hill behind a large truck and was mesmerized by ‘the strong physical presence of the beats resulting from the two engines running at slightly different frequencies’. That experience inspired him to compose music in which loud sustained tones blend and collide, creating almost physically tangible sound. During the 1970s and 80s he constructed pieces by recording instrumentalists playing pitches chosen for their potential to create beats and difference tones, editing and looping these recordings so the sounds had no apparent start or finish, and layering the edited versions over each other. In live performances of his works, musicians move slowly through the concert space, playing sustained tones that interact with recordings. In ...


Hugh Davies

revised by Kyle Devine

(b Manhattan, KS, July 7, 1936). American designer of electronic instruments. His name is primarily associated with the range of synthesizers designed by him and manufactured since 1974 by Oberheim Electronics in California. While working as an electronics engineer for a small computer company in the late 1960s, Oberheim was asked to construct a ring modulator, and the success of the original device (on the soundtrack of 1970s Beneath the Planet of the Apes and among jazz keyboardists) led to requests for others. In 1971 Maestro marketed both Oberheim’s ring modulator and his phase shifter; Oberheim Electronics was set up in connection with their production.

In 1973, when he was an agent for ARP synthesizers, Oberheim devised a digital sequencer (DS-2), and the following year his company developed the Synthesizer Expander Module (SEM), a small monophonic synthesizer with two oscillators. The SEM had no keyboard control and was designed not as a standalone unit but, rather, as a tone generator that could work alongside the DS-2 or existing synthesizers like the ARP 2600 and Minimoog....


Gerard Béhague

(b Curitiba, Brazil, April 11, 1936). Brazilian composer, pianist and multimedia artist. The most prominent woman composer in Brazil, she began her piano studies in São Paulo under José Kliass (1946–53) and continued them in Paris under Marguerite Long (1953–60). In 1963 she moved to St Louis, Missouri, with her husband, the conductor Eleazar de Carvalho, and studied composition with Robert Wykes at Washington University, earning her MA in 1968. She taught at the University of South Florida and at the New School for Social Research in New York.

As both a pianist and a composer, Oliveira has promoted contemporary music in Brazil on various fronts. Numerous major composers such as Berio, Xenakis, Lejaren Hiller and Santoro have written pieces for her. She played Stravinsky’s Capriccio under the baton of the composer and was soloist with major orchestras such as the Boston SO, the Brooklyn PO, the Los Angeles PO, the Orchestre de la Radio-France, and many others in Europe and Latin America. She has recorded about 16 discs, released in the USA, Brazil, Mexico, Britain and Germany, performing all the major piano works of Messiaen, her own compositions and other contemporary works....


Melita Milin

(b Belgrade, Sept 5, 1932). Serbian composer, multimedia artist, and music theorist. He is an original creative personality with an outstanding output in several artistic areas: music, plastic arts, literature, new media, and multimedia of a kind he calls ‘synthesic art’. He studied composition at the Music Academy in Belgrade, in the class of Milenko Živković, graduating in 1956. He taught theoretical subjects at the Stanković Music School until 1971, when he founded the Electronic Studio at Radio Belgrade which he directed until 1999. Later he taught post-graduate courses on multimedia arts at the University of Arts in Belgrade (2000–12). Together with some other artists he founded the artistic group Mediala (1958) that was to play an important part on the domestic art scene, and the avant-garde magazine Rock (1969). He worked in experimental studios in Warsaw (1966), Paris (...


Patrizio Barbieri

(b Castelfranco Veneto, nr Treviso, Feb 25, 1709; d Treviso, July 20, 1790). Italian music theorist and acoustician. He studied with his father, the mathematician Jacopo Giordano, and at the University of Padua. In 1733 he withdrew to the family estates in Castelfranco Veneto and Treviso where he worked independently of the academic world. An amateur musician (singer, harpsichordist and violinist), he taught G.B. Bortolani (‘il Melani’) and Ignazio Spergher.

Riccati preceded Rameau in formulating a theory of the origin of the tonal scale in the triads based on the first, fourth and fifth degrees. He sent the document in which he claims to have made the discovery to F.A. Vallotti; its authenticity is confirmed by Vallotti’s reply dated 13 January 1735. In this document Riccati examines the numbering of the chords with which Vallotti accompanied the diatonic scale in his compositions, showing that they are simply the consonant triads based on the first, fourth and fifth degrees of the scale. Riccati also tries to give a rational justification for the harmonic identity between a chord and its inversions. As opposed to Rameau’s strict methodology based on Enlightenment ideas, Riccati based his ‘experiment’ on compositions by the great masters; his is substantially an empirical theory. In ...


Wolfgang Kos

(b Berlin, Oct 26, 1934). German electronic musician and composer, active in Austria. He has described himself as a painter or poet in sound, and does not regard himself as a traditional composer. He first experimented with spontaneous composition in Berlin during the late 1960s. After co-founding the Zodiac artistic laboratory, he formed the Kluster group (1969) with artist Konrad Schnitzler, a student of Joseph Beuys, and graphic artist Dieter Moebius. The ensemble avoided traditional instruments and improvised with noises and chance sounds. After 1971 Roedelius and Moebius performed as the duo Cluster, conceiving works that organized delicate sounds, created with the aid of sound generators, rhythm machines, electronic organs and special effects, into sweeping ‘soundscapes’. The result was electronic mood music with strong natural echoes. After 1978 Roedelius worked primarily under his own name. With the support of the Alban Berg foundation he founded a small studio in the south of Vienna, where he worked in seclusion. During the 1980s his output was dominated by piano fantasias consisting of simple rippling melodies; he later wrote ballet music and songs. In ...