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GINETTE DESIGNING AN EXPRESSIVE ELECTRONIC INSTRUMENT BASED ON THE ONDES MARTENOT . M ASTER’ S THESIS P ETTERI MÄKINIEMI A ALTO UNIVERSITY S CHOOL OF ARTS, DESIGN AND ARCHITECTURE M EDIA LAB HELSINKI M ASTER’ S DEGREE PROGRAMME IN SOUND IN NEW MEDIA 2020 THIS IS NOT A FULL VERSION Aalto University, P.O. BOX 31000, 00076 AALTO www.aalto.fi Master of Arts thesis abstract Author Petteri Mäkiniemi Title of thesis Ginette: designing an expressive electronic instrument based on the Ondes Martenot Department Department of Media Degree programme Master's Degree Programme in Sound in New Media Year 2020 Number of pages 72 Language English Abstract This thesis introduces the design of the Ginette: a novel, expressive electronic instrument. It is based on one of the earliest electronic instruments, the Ondes Martenot, and develops from the earlier Ginette I designed and built in 2010 and 2011. The thesis presents the background and describes the features of the new design focusing on the player’s point of view. The building of the instrument is excluded from the thesis due to the broadness of the project. Both the first and the new version of the Ginette have a delicate interface consisting of a ribbon and an intensity key for a continuous control of pitch and volume, respectively. The ribbon contains a ring attached to a wire, running on a fingerboard, whereas the intensity key is a pressure-sensitive button. These features, similar to the Ondes Martenot, allow a subtle, gestural control of the sound in the same way as with certain acoustic instruments, such as the cello. The new design includes additional features not seen in this context before. The key elements consist of polyphony and wider timbral capabilities, while the first Ginette is monophonic and has simpler timbres. The design principle was to preserve the expressivity of the instrument, and apply it also to the new features. In addition to the intensity key, there is a polyphonic keyboard with individual volume control for each key. Together with the ribbon and selectable operating logics, these features enable several playing techniques. There are many options for modifying the timbre; a feature utilizing a fuzz effect circuit creates the expressive tone of the Ginette. It results in an organic sound, reminiscent to brass and string instruments, which gets brighter and more penetrating as the volume increases. Finally, the thesis presents measurements and analyses of the Ginette’s timbre played with the fuzz effect. The results present one way to design an instrument that is based on the Ondes Martenot and to develop it further in terms of polyphony and timbre, yet attempting to maintain the expressivity. Since the building of the instrument is excluded from the thesis, the success of the design will be confirmed only when the new Ginette is finished. However, years of experience in playing the first Ginette and my research on the Ondes Martenot has brought me insight into the design process. Keywords electronic instrument, Ondes Martenot, expressivity, musical instrument design ii Aalto-yliopisto, PL 11000, 00076 AALTO www.aalto.fi Taiteen maisterin opinnäytteen tiivistelmä Tekijä Petteri Mäkiniemi Työn nimi Ginette: designing an expressive electronic instrument based on the Ondes Martenot Laitos Median laitos Koulutusohjelma Sound in New Media Vuosi 2020 Sivumäärä 72 Kieli Englanti Tiivistelmä Tämä opinnäytetyö käsittelee Ginetten suunnittelutyötä. Ginette on uusi, ilmaisuvoimainen elektroninen soitin, joka perustuu Ondes Martenot’iin, yhteen varhaisimmista sähkösoittimista. Työssä olen jatkokehittänyt aiempaa Ginetteä, jonka suunnittelin ja rakensin vuosina 2010 ja 2011. Opinnäytetyö esittelee uuden soittimen taustan ja kuvailee sen ominaisuudet painottuen soittajan näkökulmaan. Soittimen rakentaminen on rajattu opinnäytetyön ulkopuolelle projektin laajuuden takia. Sekä ensimmäisessä että uudessa Ginettessä on hienovarainen käyttöliittymä. Äänen- korkeutta hallitaan lankaan kiinnittyvällä sormuksella, joka pingottuu otelaudan yli; äänenvoimakkuuden kontrollointi tapahtuu paineherkällä äänenvoimakkuuskoskettimella. Sekä äänenkorkeus että -voimakkuus ovat portaattomia. Tämä Ondes Martenot’iin perustuva soittotapa hyödyntää soittajan herkkiä eleitä akustisten soitinten tapaan – vertautuen esimerkiksi selloon. Uudessa Ginettessä on ominaisuuksia, joita ei ole käytetty tässä yhteydessä aiemmin. Keskeisimmät elementit ovat polyfonia ja laajemmat äänenvärimahdollisuudet, ensimmäisen Ginetten ollessa monofoninen ja sointivalikoimaltaan suppeampi. Suunnitteluperiaatteena on säilyttää soittimen ekspressiivisyys, ja hyödyntää sitä myös uusissa ominaisuuksissa. Soittimessa on polyfoninen, äänenvoimakkuusherkkä koskettimisto, joka yhdistettynä sormukseen ja erilaisiin toimintalogiikoihin mahdollistaa useita soittotekniikoita. Soittimen sointia voidaan muokata eri tavoin. Fuzz-efektiin perustuva lohko tuo äänenväriin ilmaisuvoimaa ja luo luonnollisen äänen, joka muistuttaa vaski- ja jousisoittimia, ollen kirkkaampi ja tunkeutuvampi äänenvoimakkuuden kasvaessa. Lopuksi, opinnäytetyö esittelee mittaukset ja analyysit Ginetten sointiväristä yhdessä fuzzin kanssa. Tulokset esittelevät yhden tavan suunnitella Ondes Martenot’iin perustuva soitin ja jatkokehittää sitä polyfonian ja soinnin suhteen, pyrkien säilyttämään sen ilmaisuvoimaisuus. Koska soittimen rakentaminen on rajattu opinnäytetyön ulkopuolelle, suunnittelutyön onnistuminen varmistuu vasta, kun soitin on valmis. Onnistumista edesauttaa kartuttamani vuosien soittokokemus ensimmäisen Ginetten kanssa ja perehtyneisyyteni Ondes Martenot’iin. Avainsanat elektroninen soitin, Ondes Martenot, ilmaisuvoimaisuus, soitinsuunnittelu iii ACKNOWLEDGEMENTS Warmest thanks to: Esa Onttonen for his support as my advisor and all the study projects as my fellow student. Antti Ikonen for his support as my supervisor and his encouraging presence during my studies. Ava Grayson for her proofreading, walks and talks, music, and friendship. Marko Tandefelt for his energetic thesis group meetings. Thomas Bloch for a memorable day with the Ondes Martenot in sunny Alsace, and Aalto University for a travel grant that made it possible. Laurent Quartier and Jean Landry for kindly sharing their technical knowledge of the Ondes Martenot. Ilpo Jauhiainen for being a friend, bandmate, and advocate of art. Heta Kaisto for her support and care when I was working with the Ginette, and for believing in me in my moments of hesitation. Jonte Knif for showing how to make audio equipment and instruments properly. Laura Isoniemi for the encouragement and words of wisdom. Sikofest and Ari Jaatinen for providing a stage not too high for newcomers. Tuomas Ahva, Emmi Pennanen, Taneli Luotoniemi, Jouko Koskinen, Jukka Kääriäinen and Hermanni Keko (and many more) for supporting me in my music-related doings. Seesaw, including Tea Dickman, Guy Dowsett and Aku Rouhe with the guest star J. Camilo Sánchez Carranco, for a tireless team effort and bad jokes when working with the installations. Great job! The people of Media Lab and Aalto Arts for a friendly and cozy atmosphere. I feel normal with you. My family for lifelong support with everything. Silja Räty for her academic writing guidance from the opposite side of the kitchen table, for all the encouragement, and also for giving me lovely, occasional reasons to do something other than writing this thesis. iv TABLE OF CONTENTS 1 INTRODUCTION ..................................................................................................................................1 1.1 Scope ..............................................................................................................................................2 1.2 Research question ..........................................................................................................................3 1.3 Structure of the thesis ....................................................................................................................3 2 ONDES MARTENOT .............................................................................................................................5 2.1 History ..........................................................................................................................................6 2.2 Definition ......................................................................................................................................8 2.3 Repertoire ....................................................................................................................................10 2.4 Technical review ..........................................................................................................................12 2.4.1 Intensity key ...................................................................................................................12 2.4.2 Ribbon ............................................................................................................................14 2.4.3 Keyboard .........................................................................................................................15 2.4.4 Transposition buttons .....................................................................................................16 2.4.5 Pedals ..............................................................................................................................17 2.4.6 Timbre ............................................................................................................................17
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  • Musiciennes:Women Musicians in France During the Interwar Years

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    Musiciennes: Women Musicians in France during the Interwar Years, 1919-1939 Laura Ann Hamer Submitted for the Degree of Doctor of Philosophy Cardiff University, 2009 UMI Number: U584377 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U584377 Published by ProQuest LLC 2013. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 Abstract The musical life of interwar France (1919-39) has fascinated many writers; however, the part played by women musicians has been much neglected. This thesis seeks to rectify this situation by presenting a study of the activities and reception of the musiciennes of interwar France. The thesis is divided into three parts: part one provides a contextual framework within which to situate the pursuits of women musicians by considering both their contemporary social position and the gender- specific conditions which affect the lives, careers, and reception of musiciennes. Part two focuses on conductors and composers. Jane Evrard and her Orchestre feminin de Paris are discussed within the context of the contemporaneous development of the all­ woman orchestra and rise of the first professional female conductors.
  • Dossier De Presse

    Dossier De Presse

    Dossier de presse Jean-François Zygel Philippe Aïche Dimitri Vassilakis Simon Ghraichy Virgine Constant Thomas Bloch Martin Stadtfeld Olivia Gay Gaspard Thomas François Dumont Pauline Haas Étudiants de la HEAR Tedi Papavrami Maki Okada École Municipale Vanessa Wagner Jean-Baptiste Fonlupt de Musique d’Erstein 1 SOMMAIRE Édito 3 Simon Ghraichy 4 Jean-François Zygel 5 Trio C’est pas si grave 6 Pauline Haas, Dimitri Vassilakis, Thomas Bloch 7 Trio Élégiaque 9 Jean-Baptiste Fonlupt 10 Maki Okada et Tedi Papavrami 12 Gaspard Thomas 14 Olivier Achard et Jean-Baptiste Fonlupt 15 Vanessa Wagner et Olivia Gay 15 Martin Stadtfeld 17 Crédits photos 18 Programme et tarifs 19 Les + du festival 20 Contacts 20 ÉDITO 2019 De l’humour en toutes choses ! Amis passionnés d’art, de musique et de piano, nous vous saluons et vous convions à assister nombreux à cette quatrième édition de Piano au Musée Würth. Permettez- nous un clin d’œil à l’édition passée ! Souvenez-vous, le dimanche 11 novembre 2018, se produisait le jeune pianiste Alexandre Kantorow ! Quelques mois plus tard, Alexandre s’imposait et remportait brillamment le célèbre Concours Tchaïkovski de Moscou ! Nous le félicitons chaleureusement et nous le réinviterons lors d’une prochaine édition ! Si 2018 avait été placée sous le signe des générations, 2019 sera dévolue à l’humour, car l’histoire de la musique Précisément, les mots seront à l’honneur avec les classes de est pleine d’humour et de traits d’esprit. Un humour sous théâtre d’Olivier Achard et de piano de Jean-Baptiste Fonlupt toutes ces facettes qui, quelquefois, se cache entre les notes de la Haute École des Arts du Rhin.