Eck, Cathy van. "Index." Between Air and Electricity: Microphones and Loudspeakers as Musical Instruments. New York: Bloomsbury Academic, 2017. 189–200. Bloomsbury Collections. Web. 1 Oct. 2021. <>.

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Ablinger, Peter 171 electric 13, 15–16, 27–28, 32, 39–40 A Letter from Schönberg 69 horn 2, 13–16, 28, 32, 72, 125–6, 134, acousmatic 150, listening 18 line of 93, 98–9, 103–4, 112, 114, 118, music 19, 133, 158 124, 130, 139–41 (see also point of sound 24 n. 5 radiation and circle of feedback) acousmonium 131–5, 141, 143 n. 18 see also radiation and feedback see also loudspeaker orchestras amplifier14 –17, 35, 41–2, 55, 57–60, 76–7, acoustic feedback see under feedback 79 n. 3, 79 n. 4, 83, 85, 87, 89–91, 93, acoustical motor 19–20 102, 111–12, 142 n. 5, 143 n. 12, 143 acoustics 62–63, 171 n. 13, 172 performance space 79, 88, 129–130, Anderson, Laurie n. 1, 171 133, 134, 139 Apparat zur künstlichen Zusammensetzung acts of sound creation 34, 38, 39, 46, 145 der Vocalklänge see under physical 30, 35, 37, 67, 69, 150–1 Helmholtz, Hermann von semantic 34, 35, 42, 48, 49, 67, 103, 146, approaches towards microphones and 150–2, 158–9, 166 loudspeakers 3, 4, 25–53, 99, 141, additive synthesis see under synthesis 145–7, 149, 167 advertisements for sound reproduction generating 3, 17, 38, 45–50, 53 n. 22, technology 30–32, 77, 147–8 56, 78, 99, 103, 115, 126–7, 142 n. 5, Aeolian harp 49, 74 145–7, 158, 161 Alperson, Philip 25 interacting 3, 6, 49–51, 83–147, 150, Ambisonics 126–7, 133–4 153, 158, 161, 166, 169 amplification 3, 5, 18, 41–42, 44, 56, 59, 78 reproducing 3, 16–17, 38, 41–5, 48, 50, n. 1, 80 n. 18, 83, 99, 107, 114, 121, 56, 61, 72, 77–8, 83, 99, 103, 115, 142 n. 3, 157 126, 145, 146–7, 149–152, 165–6 in compositions supporting 3, 38–45, 48, 50, 56, 61, 0’00’’ (4’33’’ No.2) 105–7 76–8, 83, 99–100, 107–8, 115, 118, amplified sonorous vessels 122–4 145–7, 153 Apple Box 110–12 Ashley, Robert 58, 171 Audible EcoSystemics 138–40 Wolfman 84, 142 n. 3 Bird and Person Dyning 91–93 audible Green Piece 93–94 microphones and loudspeakers 4–5, Guai ai gelidi mostri 128–131 16, 22–3, 56, 67, 83, 87, 100, 102, Inside Piano 108–10 104, 113, 117, 146–7 (see also under coffee-making105 –7 inaudible, opaque and transparent) Mikrophonie I 94–99 audience 1–2, 9–12, 14–18, 30, 32, 34, 39, Rainforest 115–119 40, 42, 44, 50, 87–8, 92, 95–8, 102 Shozyg 110–12 inside the set-up Windy Gong 153–5 Acousmonium 131–3 190 Index

Bird and Person Dyning 91–93 harp apparatus 68–70, 80 n. 19 focused loudspeakers 125–7 metal plate device 70–72 Green Piece 93–94 Berliner Lautsprecherorchester 131 Guai ai gelidi mostri 128–131 see also loudspeaker orchestras Mikrophonie I 94–99 Bernier, Nicolas 66, 171 Quintet 84–86 Bielecki, Robert 102 Radigue 134–5 bird 48, 91–5, 98, 104, 142 n. 4, 176 outside the set-up Bittmann, Bernd 109 . . . . .sofferte onde serene… 127–8 Blake, Clarence 67 0’00’’ (4’33’’ No.2) 105–6 body amplified sonorous vessels 122–4 human 3–4, 34, 37, 41, 49, 95, 106, Apple Box 110–11 119–124, 146, 151–2, 159, 161, brass instruments 124–5 164 Der tönende See 135–8 of an instrument 37, 49, 56, 88, 104, Inside Piano 108–110 107–8, 111–2, 146 coffee-making105 –6 loudspeakers attached to Nodalings 113–15 Open Air Bach 163–5 Nothing is Real 149–152 Aptium 119–121 Open Air Bach 163–5 see also under loudspeaker Pendulum Music 88–91 Boehmer, Konrad 37, 45, 52 n. 13, 56, 171 Shozyg 111–12 bone conduction 4, 119–121 Snare drum pieces 155–8 Boner, Paul 59, 142 n. 2, 171 Speaker Swinging 99–101 Bowie, David 83 Tubes 159–162 Windy Gong 153–5 Cage, John 111, 141, 171 part of the set-up 0’00’’ (4’33’’ No.2) 105–107 Aptium 119–121 Branches 106 Audible EcoSystemics 138–140 Cartridge Music 106 Merzbow 121–2 Child of Tree 106 Rainforest 115–19 CD player 6, 11, 29, 34, 35, 50–1, 53 n. 23, Three Short Stories 102–3 145 Audion 15, 172 see also gramophone, phonograph, radio, sound reproduction Bach, Johann Sebastian 28, 163–6 technology, tape recorder, telephone background noise see under noise and turntable Bailie, Joanna 52 n. 7 Chanan, Michael 15 Bartetzki, Andre 114 Chion, Michel 133, 152, 171 Bayle, François 131–3, 171 Ciciliani, Marko 52 n. 7 BEAST 131 cinema 27, 32, 126, 171 see also loudspeaker orchestras circle of feedback see under feedback Beatles 17, 83, 150 clarinet 34, 46, 128 Bechstein see Bechstein-Siemens-Nernst- Cluett, Seth 127 piano coil 20–1, 26, 47, 59–60, 118, 167–9 Bechstein-Siemens-Nernst-piano 76–8, Tesla 24 n. 4 80 n. 22, 80–1 n. 23, 111 Collins, Nicolas 5–6, 72, 172 Behrman, David 75–6, 171 Nodalings 3, 113–15, 140 Bell, Alexander G. 5, 67–72, 74, 80 n. 19, 171 Comer, John J. 39, 172 Index 191

Composers Inside Electronics 125, 172, 175 Edison tone test 147–51 computer 2, 7, 52 n. 6, 53 n. 22, 57, 69, Edison, Thomas30 , 72, 147, 172 138–40, 155, 157, 160–1, 164, 172–3 megaphone 14 also see laptop, synthesis and software phonograph 152 concert 15, 17–8, 25, 37–38, 40, 59, 88, 100, see also Edison tone test 105, 121, 126, 129, 133, 135, 147, 152 Eisenmann, Richard 172 hall see under performance space electric piano 72–74, 76, 80 n. 20, 80 loudspeaker 17–18 n. 23 Konzertreform 9–12, 17–9, 22–3, 33 electric piano see Bechstein–Siemens– in the living room/at home 1, 4, 11–12, Nernst-piano, Eisenmann, Richard 17, 28–33, 38, 41, 43 and Dieckman, George and recordings 43–5 electromagnet 20–1, 59–60, 64–6, 68–70, see also under loudspeaker 72–6, 80 n. 20, 111 concert hall see under performance space electromechanical oscillator see under contact microphones see under microphones oscillator Cook, Perry 131 electronic processing 37, 58, 94, 129, 131, Craenen, Paul 6, 152, 172 139, 155, 161, 164, 174, 176 Tubes 159–163, 166 see also digital signal processing Crumb, George 52 n. 7 Ellis, Alexander 63, 79 n. 11, 172 current interrupter emission see under sound piano string as 74–6 Emmerson, Simon 5, 87 tuning fork as 72–4, 76 Evens, Aden 6, curtain 4–5, 9–10, 12, 17–18, 22–3, 38 everyday 1 Cybernéphone 131 action 105–107, 112, 141 making coffee105 –6 data feedback see under feedback Three Short Stories 102–3 Davies, Hugh 7, 163, 172 life 1, 107, 135 (see also living room) Quintet 84–88, 92, 98–9, 114–5, 140–1 objects 106, 108, 110, 140–1, 173 Shozyg 111–12, 141 Nothing Is Real 149–152 on Mikrophonie by Stockhausen 3, 97, tubes 159–162 De Forest, Lee 15, 172 sound 107 Di Scipio, Agostino 172 Audible EcoSystemics 138–140 feedback Dieckmann, George 172 acoustic 3–5, 7, 55–60, 79 n. 3, 79 n. 21, electric piano 74–76 95, 97–99, 103–104, 112, 141, 142 n. diffusionsee under sound 1–7, 147, 171, 174 digital signal processing 139, 140, 167 avoiding 57, 59, 83, 98, 105, 155 see also electronic processing circle of 89, 91, 93, 98, 103–104, Disney, Walt 126 115–116, 140–1 (see also point of distinctive voice 19, 21–3 radiation see also true nature and voice of their own and line of amplification) distortion 16, 75, 79 n. 7, 152, 168, 174 data 164 Doppler effect100 , 143 n. 10 in compositions Driscoll, John 125–6, 172 Audible EcoSystemics 138–140 Stall 126 Bird and Person Dyning 91–93 on Rainforest by Tudor 117 Behrman 75–76 Duhamel, Jean-Marie Constant 62 Green Piece 93–94 192 Index

Inside Piano 108–110 Hartman, Hanna 110, 173 Nodalings 113–115 Headphones 1, 17–8, 152 Open Air Bach 163–5 Heiniger, Wolfgang 173 Pendulum Music 88–91 snare drum pieces 155–159, 163, 166, Quintet 84–88 169 n. 4 –71 tubes 159–162 Helmholtz, Hermann von 62–66, 68, 70, history of 83–8 72–3, 78, 79 n. 10, 79 n. 11, 80 n. 16, in music 83–84 80 n. 20, 80 n. 23, 171 through objects 3, 113–115 Apparat zur künstlichen through piano strings 74–76 Zusammensetzung der Vocalklänge through tuning forks 59–61, 65, 72–74 64–6, 72–3, 78 see also amplificationand radiation hemisphere loudspeaker see under Ferrari, Luc 133 loudspeaker filter59 , 83, 87, 96, 98–9, 102, 107, 111, Hendrix, Jimi 83 113, 117, 129, 139, 169 n. 1 Henry, Pierre 133, 175 Fitzgerald, Ella 99 high fidelity32 , 38, 52 n. 8, 61, 139, 150, 152 5.1 surround sound 5, 126, 134 higher fidelity32 , 38 Fourier, Jean Baptiste 46, 64 Hindemith, Paul 44, 52 n. 17 full-sphere loudspeaker see under 7 Triostücke für 3 Trautonien 126 loudspeaker horn see under amplification Fullman, Ellen 107, 143 n. 13, 173 howling (sound) 59, 83 see also under feedback generating approach see under approaches Hughes, David Edward 74, 173 towards microphones and loudspeakers identity gestural identity 6, 152–3, 157–8, 161 instrumental 19, 27 shifts155 –7, 162 loudspeaker 21, 167 gesture 1, 6, 16, 50, 86, 92, 98, 151, 166 see also gestural identity categories 151 illusion 22, 32, 49, 150 encoded 151–3, 156, 158, 161–2, see also phantom sound source and 165 virtual produced 151–3, 161–2, 165–6 inaudible glitch 86 microphones and loudspeakers 1, 4, 23, see also malfunctioning, mistake and 41–2, 127 misuse. see also under audible, opaque and Goeyvaerts, Karel 47–8, 53 n. 20, 78, 173 transparent gramophone 11, 13, 30, 32–3, 44, 52 n. 17, instrument builder 66, 118, 173 76–7, 145 see also manufacturer see also CD player, phonograph, radio, interacting approach see under approaches sound reproduction technology, towards microphones and tape recorder, telephone and loudspeakers turntable granular synthesis see synthesis Jeffery, Hilary124 graphical method 62–63 Jones, Ralph 125 Groult, Christine 133 Kagel, Mauricio 124, 143 n. 17, 173 Haller, Hans Peter 128–9, 173 Kalve, Martin 125 harp apparatus see under Bell, Alexander G. Katz, Mark 15 Index 193

Kaul, Matthias 169 n. 1, 173 coffee-making105 –6 Kellogg, Edward W. 26–7, 167, 169 Nodalings 113–15 Kelly, Caleb 6 Nothing is Real 149–152 Kessler, Thomas 173 snare drum pieces 155–8 Utopia I & II 131–2 Three Short Stories 102–3 see also loudspeaker orchestras Windy Gong 153–5 Kinkeldey, Otto 17, 173 set-ups using a stereophonic or two Koch, Heinrich Christoph 27 channel output signals Konzertreform see under concert Acousmonium 131–3 amplified sonorous vessels laptop 29, 51–2, 112, 174 122–4 orchestra 131 (see also loudspeaker Bird and Person Dyning 91–93 orchestra) Green Piece 93–94 also see computer, synthesis and Inside Piano 108–110 software Mikrophonie I 94–99 Larsen, Søren Absalon 59 Radigue 134–5 see also feedback Shozyg 111–12 laws tubes 159–162 acoustic 52 n. 12 set-ups using more than two output Gestalt laws of grouping 35 signals of classical mechanics 37, 58, 159, 161, 166 Aptium 119–121 physical 16 Audible EcoSystemics 138–140 Le Corbusier 88 Der tönende See 135–8 Lerman, Richard 110, 173 Guai ai gelidi mostri 128–131 Leslie loudspeaker see under loudspeaker Open Air Bach 163–5 line of amplification see under Pendulum Music 88–91 amplification Quintet 84–86 live electronics 83, 94, 129–32, 138–9, 155, Rainforest 115–19 173–4, 176 Speaker Swinging 99–101 living room 1, 4, 17, 22, 28–33, 38, 41, set-ups using a single loudspeaker 43–4, 77, 126, 152, 157 brass instruments 124–5 see also under concert Nodalings 113–15 Lockwood, Annea 3, 174 Nothing is Real 149–152 Sound Ball 101–2, 112 snare drum pieces 155–8 Three Short Stories and an Apotheosis Windy Gong 153–5 99–103, 122 set-ups using in between two and nine Løffler, Simon 66, 174 loudspeakers loudspeaker . . . . .sofferte onde serene… 127–8 body 119–124 (see also under body) Audible EcoSystemics 138–140 concert 17–18, 100, 126 Bird and Person Dyning 91–93 focused 125–7 Green Piece 93–94 full-sphere loudspeaker 131 Guai ai gelidi mostri 128–131 hemisphere loudspeaker 131 Inside Piano 108–110 Leslie 40 coffee-making105 –6 orchestra 131–133, 136 Mikrophonie I 94–99 plasma speakers 24 n. 4 Open Air Bach 163–5 set-ups using a monophonic output signal Pendulum Music 88–91 . . . . .sofferte onde serene… 127–8 Radigue 134–5 brass instruments 124–5 Rainforest 115–19 194 Index

Quintet 84–86 Marclay, Christian 52 n. 7 Shozyg 111–12 material (in the interacting approach) Speaker Swinging 99–101 interacting with loudspeakers Three Short Stories 102–3 Aptium 119–121 tubes 159–162 Merzbow 121–2 set-ups using more than ten Nodalings 113–15 loudspeakers Open Air Bach 163–5 Aptium 119–121 Rainforest 115–19 Der tönende See 135–8 snare drum pieces 155–8 Fantasound 126 Windy Gong 153–5 Guai ai gelidi mostri 128–131 interacting with microphones loudspeaker orchestra 131–133, 136 0’00’’ (4’33’’ No.2) 105–6 (see also Acousmonium, BEAST, Apple Box 110–11 Berliner Lautsprecherorchester, Inside Piano 108–110 Cybernéphone, see also under making coffee105 –6 Kessler, Thomas; laptop Nodalings 113–15 orchestra) Rainforest 115–19 Osaka World’s Fair 84 Shozyg 111–12 Philips Pavilion 88, 176 Windy Gong 153–5 subwoofer 88, 133 Maubrey, Benoît 3, 174 tactile transducer 124 Megaphone see under Edison Aptium 119–121 Merzbow 119, 121–22, 124, 135, 141, 174 Nodalings 113–15 metal plate device see under Bell, Rainforest 115–19 Alexander G...... sofferte onde serene… 127–8 microphone tweeter 133 compositions using binaural see also approaches towards microphones microphones and loudspeakers Bird and Person Dyning 91–93 see also under audible, identity, compositions using air microphones inaudible, material, movement, amplified sonorous vessels 122–4 opaque, space, transparent Audible EcoSystemics 138–140 Lucier, Alvin 3, 174 Bird and Person Dyning 91–93 Bird and Person Dyning 91–95, 98, 115, Green Piece 93–94 141 Guai ai gelidi mostri 128–131 Music for piano with amplified sonorous Mikrophonie I 94–99 vessels 122–5, 135 Nothing Is Real 149–152 Nothing Is Real (Stawberry Fields Open Air Bach 163–5 Forever) 4, 149–152, 155, 157–9, 163 Pendulum Music 88–91 Quintet 84–86 magnetic tape see tape tubes 159–162 malfunctioning 6, 86 Windy Gong 153–5 see also glitch, mistake and misuse. compositions using contact Maly, Valerian 174 microphones coffee-making105 –6, 111–2, 119, 141, 0’00’’ (4’33’’ No.2) 105–6 146 Apple Box 110–11 manufacturer 86 Inside Piano 108–110 see also instrument builder coffee-making105 –6 Index 195

Nodalings 113–15 see also Bechstein-Siemens-Nernst-piano Rainforest 115–19 Neumann, Andrea 174 Shozyg 111–12 Inside Piano 108–10, 112, 119, 125 Windy Gong 153–5 noise 2, 11, 27, 35–6, 109, 114, 121, 149, condenser 106 157, 161, 174 contact 3, 120, 122, 124, 143 n. 12, 146, background noise 79 n. 4, 139–40 164, 173 white noise 171 dynamic 60 Nono, Luigi 134–5, 141, 168, 173, 174, 176 see also approaches towards Guai ai gelidi mostri 4, 128–131 microphones and loudspeakers, . . . . .sofferte onde serene… 127–8 see also under audible, inaudible, material, movement, opaque, space, Oliveros, Pauline 174 transparent Apple Box Double 110–12, 119, 141 mistake 32, 44, 83, 86 see also glitch, ondes Martenot 40 malfunctioning and misuse opaque 50, 86 misuse 83, 86, 172 see also glitch, microphones and loudspeakers 4, 6, 87, malfunctioning and mistkae 103–4, 140 (see also under audible, Monahan, Gordon 3, 174 inaudible and transparent) Speaker Swinging 99–103, 122, 141 open musical instrument see under musical mono see monophonic instrument monophonic 102, 127–8 orchestra of loudspeakers see under see also stereophonic loudspeaker movement (in the interacting approach) organ 11, 19, 34, 37, 40–1, 48–9, 74, 120, interacting with loudspeaker 157, 176 Open Air Bach 163–5 oscillator 55–59, 100 Speaker Swinging 99–101 electromechanical 58, 66 Three Short Stories 102–3 piano string 74–76, 115 Windy Gong 153–5 tuning fork 59–61, 65, 80 n. 15, interacting with microphone 80 n. 20, 115 Bird and Person Dyning 91–93 sine wave 60, 66, 100, 118 (see also sine Green Piece 93–94 tone and sine wave) Mikrophonie I 94–99 own voice 21, 83, 118 Pendulum Music 88–91 see also sound of its own and true Quintet 84–86 nature see also material and space moving coil see coil Parmegiani, Bernard 133 musical gesture see gesture passive (sound reproduction technology) 5, musical instrument 6, 19, 51 n. 3, 77, 96, 157 definition 25, 27–9, 33, 40, 51 n. 1 performance space 3, 22–3, 84, 86–8, open 163 91, 94, 100, 113–16, 118–19, 121, resistance and resonance 5, 49–51, 86, 126–32, 134–36, 138–40, 155 90, 93, 146, 166–7 cave 107 three categories 29, 146, 168 concert hall 9–11, 16–17, 27, 38, 48, 122, 127–130 Neo Bechstein see Bechstein-Siemens- lake 135, 136, 138 Nernst-piano see also space Nernst, Hermann Walther phantom sound source 22, 43, 92, 125 196 Index

Philips Pavilion 88, 176 Reese, Kirsten 175 phonautograph 26, 64, 66–7 Der tönende See 134–8 ear- 66 Reich, Steve phonograph 1, 6, 11–12, 15–16, 27, 29–36, Pendulum Music 88–92, 98, 104, 112, 44–5, 72, 74, 147, 149–52, 172 114 see also CD player, gramophone, radio, reproducing approach see under sound reproduction technology, approaches towards microphones tape recorder, telephone and and loudspeakers turntable resistance physical acts of sound creation see acts of microphones and loudspeakers 49–51, sound creation 56, 59–60, 90, 166 point of radiation see radiation see also under musical instruments Pythagoras 18 resonance frequency 55–6, 59–60, 67, 69–70, 79 Raaijmakers, Dick 4, 46–7, 150, 163, 170 n. 2, 92–3, 95, 106–7, 111, 117–18, n. 5, 175 121–4, 150–1, 153, 155, 157–8, 160, Drie Ideofonen 19–21, 23 169 n. 1, 175 Intona 19, 21–3 microphones and loudspeakers 49–51, radiation 98, 76, 90, 166–7 in compositions sympathetic 63, 68 Acousmonium 131–3 see also under musical instruments Aptium 119–121 reverb 40, 107, 111, 114, 123, 129, 133, 139, brass instruments 124–5 150 Der tönende See 135–8 Rice, Chester W. 26–7, 167, 169 Merzbow 121–2 Riemann, Hugo 27–8, 45, 50, 175 focused loudspeakers 125–7 Roads, Curtis 5 Nothing Is Real 149–152 Rogalsky, Matt 143 n. 16, 175 Open Air Bach 163–5 Radigue 134–5 Sachs, Curt 27, 51 n. 4 snare drum pieces 155–8 Schaeffer, Pierre5 , 18, 22–3, 44, 48, 175 . . . . .sofferte onde serene… 127–8 Schroeder, Sabrina 116–7, 175 Speaker Swinging 99–101 Scott de Martinsville, Édouard-Léon 26, Three Short Stories 102–3 64, 66–7, 175 point of 103, 104, 118, 122, 125, semantic acts of sound creation see acts of 133–4, 138, 140–1 (see also circle of sound creation feedback and line of amplification) Siemens see Bechstein-Siemens-Nernst- see also sound diffusion and sound piano emission sine Radigue, Eliane 84, 134–5, 175 tone 47, 78 radio 1, 2, 11, 12, 15, 18, 24, 27, 29, 32–4, wave 46–7, 53 n. 19, 58–60, 62, 64, 36, 44, 51, 52 n. 7, 52 n. 10, 59, 76–8, 66–7, 78, 100, 103, 118, 135 (see also 102, 173, 175–6 under oscillator) see also CD player, gramophone, see also Fourier and additive synthesis phonograph, sound reproduction softhearer4 , 20 technology, tape recorder, telephone see also microphone and turntable software138 , 155, 160–1 see also computer, Raes, Godfried Willem 52 n. 7 laptop and synthesis Index 197

Sonic Youth 83 sweet spot 97 Sonntag, Jan Peter E. R. 66, 175 see also Ambisonics and monophonic sound of its own 19–20, 33, 77–8 Sterne, Jonathan 6, 12–13, 15, 36, 41, 66–7, see also own voice and true nature 145, 175 sound reproduction technology 1–2, 6, Stockhausen, Karlheinz 46–8, 175 11–13, 15–16, 19, 21–3, 27–38, Mikrophonie I 2, 7, 94–9, 103–4, 112, 41–2, 44–5, 48, 51 n. 3, 55, 58, 115, 125, 130–31, 141, 163 66–72, 145, 151, 159, 166, 168, 172 Stokowski, Leopold 126 see also CD player, gramophone, Subotnick, Morton 84, 176 phonograph, tape recorder, subwoofer see under loudspeaker telephone and turntable supporting approach see under approaches sound-cabinet see under loudspeaker towards microphones and sound loudspeakers diffusion1 –2, 5, 18, 22, 56–8, 66, 75–6, sweet spot see under stereophonic 78, 93, 95–6, 109, 116, 119, 124–6, synthesis 53 n. 22, 61, 68, 172 128–35, 138, 141, 175 (see also additive 47, 64, 78 sound emission and radiation) granular 161 emission 5, 41 83, 76, 77, 122, 127 see also computer, laptop, software, (see also sound diffusion and synthesizer and Wave Field radiation) Synthesis shaping 2–5, 42, 56, 58, 61, 66, 75–6, synthesizer 2, 6, 19, 37, 131 78, 86–7, 93–4, 96, 98, 114, 123, ARP 2500 84, 175 140 avant la letter 66 soundboard 38–9, 76, 87, 108–9, 123, Mark I 59 127–9, 143 n. 7 space (in the interacting approach) tactile transducer see under loudspeaker interacting with loudspeaker tape 12, 17, 88, 127–8, 135, 142 n. 3, 171, Acousmonium 131–3 74 brass instruments 124–5 recorder 47, 145, 149 (see also CD Der tönende See 135–8 player, gramophone, phonograph, focused loudspeakers 125–7 radio, sound reproduction Nothing Is Real 149–152 technology, telephone and Radigue 134–5 turntable) . . . . .sofferte onde serene… 127–8 Tazelaar, Kees 22, 88, 176 tubes 159–162 telephone 1–2, 5, 11, 13, 15, 27, 34, 36, interacting with microphone 39, 59, 70–2, 74, 80 n. 19, 83, amplified sonorous vessels 122–4 152 Audible EcoSystemics 138–140 see also CD player, gramophone, tubes 159–162 phonograph, radio, sound see also material and movement reproduction technology, tape spatialization 5, 41, 88, 126–9, 133 recorder and turntable speaking-cabinet see under loudspeaker terza prattica 37, 52 n. 13 Stanic, Lara 175 theremin 40, 45 Open Air Bach 72, 163–6, 170 n. 6, Tran, Quang Hai 52 n. 7 stereo see stereophonic transducer 12–13, 36, 40, 47, 67, stereophonic 4–5, 22–24, 32, 38, 43, 91, 97, see also loudspeaker, microphone and 109, 112, 125–6, 133, 135 tactile transducer 198 Index transparent Ulher, Birgit 124 microphones and loudspeakers 1, 4, 6, 19, 38, 41–43, 50–1, 61, 68, 77, 86–7, Vande Gorne, Annette 133 103–4, 108, 115, 118, 126–7, 145–6, Varèse, Edgar 45, 52 n. 7, 88, 176 162, 166–9 (see also under audible, Vermeulen, Roelof 19–20, 176 inaudible and opaque) Vidolin, Alvise 127–9, 176 trautonium 40 Viola, Bill 117 true nature 19–20, 22–3 virtual 16, 18, 22–3, 37, 126, see also own voice and sound of its own see also illusion and phantom sound Trueman, Dan 131 source Tudor, David 176 voice coil see coil Microphone 84, 142 n. 4 von Biber, Heinrich 169 n. 2 Rainforest 2, 6, 115–19, 121–22, 124–6, von Hornbostel, Erich Moritz 27–9, 34, 51 141, 143 n. 16, 146, 153, 157, 163, n. 4, 168, 175 tuning fork 53 n. 19, 59–70, 72–5, 78, 79 n. Wassermann, Ute 176 5, 79 n. 9, 80 n. 16, 80 n. 20, 115, 171 Windy Gong 6, 99, 153–5, 157, 158, 163, principle 6, 66–7, 69–70, 72, 75, 78, 166, 168 87, 89, 115, 167 (see also tympanic Wave Field Synthesis 22, 126, 133 principle) Weber, Wilhelm 62 see also under Apparat zur künstlichen Weissmann, Steffi3 , 176 Zusammensetzung der Vocalklänge, Wellmer, Anne 176 current interrupter, feedback and Green Piece 93–4, 98, 104, 115, 125, oscillator and sine wave. 135 turntable 29, 51, 52 n. 7 Wertheim, Wilhelm 62 see also CD player, gramophone, WFS see Wave Field Synthesis phonograph, radio, sound white noise see under noise reproduction technology, tape Wishart, Trevor 5, 176 recorder and telephone tweeter see under loudspeaker Xenakis, Iannis 3, 88, 176 tympanic principle 6, 12–3, 66–70, 72, 75–8, 87, 89, 115, 120–1, 167 Yoshihide, Otomo 83 see also tuning fork principle Young, Thomas61 –2, 67, 72, 79 n. 9, 176