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....
An electronic composition machine developed at the National Research Council of Canada in Ottawa from 1948 by Osmond (‘Ken’) Kendall (b Spain, 1909, of British parents), an electronics engineer at the National Film Board of Canada (NFBC). Basing his experiments on a simplified form of the optical film soundtrack and the idea of graphic sound, on which his colleague Norman McLaren was working, Kendall devised the Composertron, which employed a system for drawing sound-waveforms on a television screen with a grease pencil (probably the first use of this technique in a musical instrument); rhythm was ‘notated’ on a strip of film. The waveforms were scanned and this process controlled electronic oscillators; the resulting sounds were then recorded on magnetic tape. At the same time Kendall constructed a machine for speech synthesis using the same principle. Working models of both machines were assembled by the Canadian Marconi Co. in Montreal about ...
(Lat.: ‘against the tenor’)
The name given in the 14th and early 15th centuries to a polyphonic line composed in the same range as the Tenor. The practice of writing a part ‘against the tenor’ superseded the typical 13th-century process of adding parts above a tenor line. The first theoretical mention of the word ‘contratenor’ occurs in the treatise In arte motetorum (CS, iii, 88; 14th–15th century), and its earliest known appearance in a musical source is in a fragmentary motet manuscript of between 1315 and 1319 from the cloister of S Giorgio Maggiore, Venice (facs. in Quadrivium, ix (1968), table 1). The innovatory practice of adding a contratenor to a tenor is interestingly revealed in two motets (Vos quid admiramini/Gratissima/Gaude gloriosa and Impudenter circuivi/Virtutibus laudabilis) by Philippe de Vitry (1291–1361), which may be performed either with a conventional single-line tenor (‘tenor solus’) or with the same part ingeniously rewritten in the new manner as two lines, ‘tenor’ and ‘contratenor’....
(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 ...
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....
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 ...
Hugh Davies, Annette Vande Gorne and Anne Beetem Acker
[Générateur automatique de musique électronique] (Fr.: ‘automatic electronic music generator’)
Composition machine developed by the Belgian composer Léo Küpper (b Nidrum, 16 April 1935) in Brussels between 1968 and 1978. Küpper had begun experimenting with electronic music in 1959 while a student at Liège University, using two Brüel & Kjaer oscillators and a tape recorder. In 1962 he began work in Brussels at APELAC, the first Belgian electronic music studio, and joined the musical sound-effects department of the RTBF. The GAME system formed the basis of Küpper’s electronic music studio in Brussels, the Studio de Recherches et de Structurations Electroniques Auditives, which he founded in 1967. The first version of the GAME, completed in 1971, was used in concerts and installations. It consisted of 60 separate modules, using a combination of analogue and digital techniques, which could be freely selected and combined. The modules were programmed in an upright console approximately 4 × 2 metres by making a large number of patchcord interconnections, so that the surface of the console was festooned with cables. Most of the controls operated during a performance were placed in front of the console....
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 ...