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Playing (With) Sound of the Animation of Digitized Sounds and Their Reenactment by Playful Scenarios in the Design of Interactive Audio Applications
Playing (with) Sound Of the Animation of Digitized Sounds and their Reenactment by Playful Scenarios in the Design of Interactive Audio Applications Dissertation by Norbert Schnell Submitted for the degree of Doktor der Philosophie Supervised by Prof. Gerhard Eckel Prof. Rolf Inge Godøy Institute of Electronic Music and Acoustics University of Music and Performing Arts Graz, Austria October 2013 Abstract Investigating sound and interaction, this dissertation has its foundations in over a decade of practice in the design of interactive audio applications and the development of software tools supporting this design practice. The concerned applications are sound installations, digital in- struments, games, and simulations. However, the principal contribution of this dissertation lies in the conceptualization of fundamental aspects in sound and interactions design with recorded sound and music. The first part of the dissertation introduces two key concepts, animation and reenactment, that inform the design of interactive audio applications. While the concept of animation allows for laying out a comprehensive cultural background that draws on influences from philosophy, science, and technology, reenactment is investigated as a concept in interaction design based on recorded sound materials. Even if rarely applied in design or engineering – or in the creative work with sound – the no- tion of animation connects sound and interaction design to a larger context of artistic practices, audio and music technologies, engineering, and philosophy. Starting from Aristotle’s idea of the soul, the investigation of animation follows the parallel development of philosophical con- cepts (i.e. soul, mind, spirit, agency) and technical concepts (i.e. mechanics, automation, cybernetics) over many centuries. -
John Lennon from ‘Imagine’ to Martyrdom Paul Mccartney Wings – Band on the Run George Harrison All Things Must Pass Ringo Starr the Boogaloo Beatle
THE YEARS 1970 -19 8 0 John Lennon From ‘Imagine’ to martyrdom Paul McCartney Wings – band on the run George Harrison All things must pass Ringo Starr The boogaloo Beatle The genuine article VOLUME 2 ISSUE 3 UK £5.99 Packed with classic interviews, reviews and photos from the archives of NME and Melody Maker www.jackdaniels.com ©2005 Jack Daniel’s. All Rights Reserved. JACK DANIEL’S and OLD NO. 7 are registered trademarks. A fine sippin’ whiskey is best enjoyed responsibly. by Billy Preston t’s hard to believe it’s been over sent word for me to come by, we got to – all I remember was we had a groove going and 40 years since I fi rst met The jamming and one thing led to another and someone said “take a solo”, then when the album Beatles in Hamburg in 1962. I ended up recording in the studio with came out my name was there on the song. Plenty I arrived to do a two-week them. The press called me the Fifth Beatle of other musicians worked with them at that time, residency at the Star Club with but I was just really happy to be there. people like Eric Clapton, but they chose to give me Little Richard. He was a hero of theirs Things were hard for them then, Brian a credit for which I’m very grateful. so they were in awe and I think they had died and there was a lot of politics I ended up signing to Apple and making were impressed with me too because and money hassles with Apple, but we a couple of albums with them and in turn had I was only 16 and holding down a job got on personality-wise and they grew to the opportunity to work on their solo albums. -
Read Razorcake Issue #27 As A
t’s never been easy. On average, I put sixty to seventy hours a Yesterday, some of us had helped our friend Chris move, and before we week into Razorcake. Basically, our crew does something that’s moved his stereo, we played the Rhythm Chicken’s new 7”. In the paus- IInot supposed to happen. Our budget is tiny. We operate out of a es between furious Chicken overtures, a guy yelled, “Hooray!” We had small apartment with half of the front room and a bedroom converted adopted our battle call. into a full-time office. We all work our asses off. In the past ten years, That evening, a couple bottles of whiskey later, after great sets by I’ve learned how to fix computers, how to set up networks, how to trou- Giant Haystacks and the Abi Yoyos, after one of our crew projectile bleshoot software. Not because I want to, but because we don’t have the vomited with deft precision and another crewmember suffered a poten- money to hire anybody to do it for us. The stinky underbelly of DIY is tially broken collarbone, This Is My Fist! took to the six-inch stage at finding out that you’ve got to master mundane and difficult things when The Poison Apple in L.A. We yelled and danced so much that stiff peo- you least want to. ple with sourpusses on their faces slunk to the back. We incited under- Co-founder Sean Carswell and I went on a weeklong tour with our aged hipster dancing. -
The Cimbalo Cromatico and Other Italian Keyboard Instruments With
Performance Practice Review Volume 6 Article 2 Number 1 Spring The imbC alo Cromatico and Other Italian Keyboard Instruments with Ninteen or More Division to the Octave (Surviving Specimens and Documentary Evidence) Christopher Stembridge Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Stembridge, Christopher (1993) "The imbC alo Cromatico and Other Italian Keyboard Instruments with Ninteen or More Division to the Octave (Surviving Specimens and Documentary Evidence)," Performance Practice Review: Vol. 6: No. 1, Article 2. DOI: 10.5642/ perfpr.199306.01.02 Available at: http://scholarship.claremont.edu/ppr/vol6/iss1/2 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Early-Baroque Keyboard Instruments The Cimbalo cromatico and Other Italian Keyboard Instruments with Nineteen or More Divisions to the Octave (Surviving Specimens and Documentary Evidence) Christopher Stembridge In an earlier article1 it was demonstrated that the cimbalo cromatico was an instrument with nineteen divisions to the octave. Although no such instrument is known to have survived, one harpsichord and a keyboard from another instrument, while subsequently altered, show clear traces of having had 19 keys per octave in the middle range. The concept was further developed to produce instruments with 24, 28, 31, 3, and even 60 keys per octave. With the exception of Trasuntino's 1606 Clavemusicum Omni- tonum, none of these survives; documentary evidence, however, shows that they were related to the cimbalo cromatico, as this article attempts to demonstrate. -
Commuted Waveguide Synthesis of the Clavichord
Vesa Va¨lima¨ki,* Mikael Laurson,† Commuted Waveguide and Cumhur Erkut* *Laboratory of Acoustics and Audio Synthesis of the Signal Processing Helsinki University of Technology Clavichord P.O. Box 3000 FIN-02015 HUT Espoo, Finland {Vesa.Valimaki, Cumhur.Erkut}@hut.fi †Centre for Music and Technology Sibelius Academy P.O. Box 86 Helsinki, Finland Downloaded from http://direct.mit.edu/comj/article-pdf/27/1/71/1853827/01489260360613353.pdf by guest on 26 September 2021 laurson@siba.fi The clavichord is one of the oldest keyboard instru- instrument is an Anthony Sidey clavichord manu- ments, and it is still often used in performances factured by Heugel in Paris, France, in 1988. This and recordings of Renaissance and Baroque music. clavichord is an unfretted one, so any combination The sound of the instrument is pleasant and ex- of notes can be played. The range of a clavichord is pressive but quiet. Consequently, the instrument anywhere from three octaves to over five octaves. can only be used in intimate performances for Our clavichord has 51 keys ranging from C2 to D6. small audiences. This is the main reason why the The instrument was tuned about a whole tone clavichord was replaced by the harpsichord and fi- lower than the standard modern tuning Hz): the nominal frequency of A4 is 395 440 ס nally by the modern piano, both of which produce (A4 a considerably louder output. Attempts have been Hz. The Werkmeister tuning system was used. made to amplify the sound of the clavichord using For each key of the clavichord, a pair of strings is a piezoelectric pickup (Burhans 1973). -
Electronic Music Machines: the New Musical Instruments Jean-Michel Reveillac
To purchase this product, please visit https://www.wiley.com/en-ag/9781119618102 Electronic Music Machines: The New Musical Instruments Jean-Michel Reveillac E-Book 978-1-119-61810-2 April 2019 $132.00 Hardcover 978-1-786-30325-7 July 2019 $165.00 O-Book 978-1-119-61808-9 April 2019 Available on Wiley Online Library DESCRIPTION Since 1960, with the advent of musical electronics, composers and musicians have been using ever more sophisticated machines to create sonic material that presents innovation, color and new styles: electro-acoustic, electro, house, techno, etc. music. The music of Pierre Henry, Kraftwerk, Pink Floyd, Daft Punk and many others has introduced new sounds, improbable rhythms and a unique approach to composition and notation. Electronic machines have become essential: they have built and influenced the music of the most recent decades and set the trend for future productions. This book explores the theory and practice related to the different machines which constitute the universe of musical electronics, omitting synthesizers which are treated in other works. Sequencers, drum machines, samplers, groove machines and vocoders from 1960 to today are studied in their historical, physical and theoretical context. More detailed approaches to the Elektron Octatrack sequencer-sampler and the Korg Electribe 2 groove machine are also included. ABOUT THE AUTHOR Jean-Michel Réveillac has been a specialist in sound processing for more than 30 years. He is Associate Professor at the University of Burgundy in France and a consultant for major companies related to the media, and manages in parallel a studio for restoration, mixing and transcoding sound. -
Arturia Farfisa V User Manual
USER MANUAL ARTURIA – Farfisa V – USER MANUAL 1 Direction Frédéric Brun Kevin Molcard Development Samuel Limier (project manager) Pierre-Lin Laneyrie Theo Niessink (lead) Valentin Lepetit Stefano D'Angelo Germain Marzin Baptiste Aubry Mathieu Nocenti Corentin Comte Pierre Pfister Baptiste Le Goff Benjamin Renard Design Glen Darcey Gregory Vezon Shaun Ellwood Morgan Perrier Sebastien Rochard Sound Design Jean-Baptiste Arthus Jean-Michel Blanchet Boele Gerkes Stephane Schott Theo Niessink Manual Hollin Jones Special Thanks Alejandro Cajica Joop van der Linden Chuck Capsis Sergio Martinez Denis Efendic Shaba Martinez Ben Eggehorn Miguel Moreno David Farmer Ken Flux Pierce Ruary Galbraith Daniel Saban Jeff Haler Carlos Tejeda Dennis Hurwitz Scot Todd-Coates Clif Johnston Chad Wagner Koshdukai © ARTURIA S.A. – 1999-2016 – All rights reserved. 11, Chemin de la Dhuy 38240 Meylan FRANCE http://www.arturia.com ARTURIA – Farfisa V – USER MANUAL 2 Table of contents 1 INTRODUCTION .................................................................... 5 1.1 What is Farfisa V? ................................................................................................. 5 1.2 History of the original instrument ........................................................................ 5 1.3 Appearances in popular music ......................................................................... 6 1.3.1 Famous Farfisa users and songs:..................................................................... 7 1.4 What does Farfisa V add to the original? ......................................................... -
Tonal Quality of the Clavichord : the Effect of Sympathetic Strings Christophe D’Alessandro, Brian Katz
Tonal quality of the clavichord : the effect of sympathetic strings Christophe d’Alessandro, Brian Katz To cite this version: Christophe d’Alessandro, Brian Katz. Tonal quality of the clavichord : the effect of sympathetic strings. Intl Symp on Musical Acoustics (ISMA), 2004, Nara, Unknown Region. pp.21–24. hal- 01789802 HAL Id: hal-01789802 https://hal.archives-ouvertes.fr/hal-01789802 Submitted on 21 Dec 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Proceedings of the International Symposium on Musical Acoustics, March 31st to April 3rd 2004 (ISMA2004), Nara, Japan 1-P1-7 Tonal quality of the clavichord: the effect of sympathetic strings Christophe d'Alessandro & Brian F.G. Katz LIMSI-CNRS, BP133 F-91403 Orsay, France [email protected], [email protected] Abstract part of the strings the “played strings”. Only few works have included efforts specifically devoted to the In the clavichord, unlike the piano, the slanting strings acoustics of the clavichord [2][3][4]. Experiments with between the bridge and the hitch pins are not damped physical modeling synthesis of the clavichord are with felt. The effect of these “sympathetic strings” on described in [5]. -
A Brief, Comprehensive History of the Cordovox and Other Electronic Accordions” by Fabio G
“A Brief, Comprehensive History of the Cordovox and other electronic accordions” By Fabio G. Giotta Many technical and musical geniuses poured their hearts and souls in to the design and production of these amazing instruments whose electronic technology originated in the late 1950’s, 60’s and 70’s; the Ages of Technology, Space and Jet Travel. The acoustic accordion technology (typically 15,000 parts in a full size instrument) spans from roughly 1900 through the age of its electronic counterparts. This article endeavors to correct some of the rampant inaccuracies and invalid opinions about the Cordovox and other electronic accordions found on the World Wide Web, including some of the statements posted at Google Answers, and errant statements by some Ebay sellers and non-accordion oriented retailers, including musical instrument shops. Herein, I opine and make a combination of declarations, observations, and well-educated guesses based on my own personal experience with these instruments, continuing interaction with accordion industry experts such as: Gordon Piatanesi (Colombo & Sons Accordions-San Francisco, CA), Joe Petosa (Petosa Accordions-Seattle, WA), The curators of the Museo Internazionale Della Fisarmonica-Castelfidardo, Italia (International Museum of the Accordion), including Paolo Brandoni (Brandoni & Sons Accordions-General Accordion Co.), Fabio Petromilli (Comune of Castelfidardo), Beniamino Bugiolacchi-Museum President, and their colleagues Maestro Gervasio Marcosignori, concert accordionist, arranger, recording artist, and former Director of Instrument Development for Farfisa S.p.A. Organ electronics experts such as *Dave Matthews, *David Trouse, *David Tonelli and *Peter Miller, and study of written, official documents such as books, brochures, advertisements, owner’s guides, service manuals, and historical accounts, inlcluding the following: The Golden Age of the Accordion--Flynn/Davison/Chavez, Super VI Scandalli…Una Fisarmonica Nella Storia--Jercog, and Per Una Storia Della Farfisa-- Strologo. -
SC Clav User Guide
SONICCOUTURE CLAV USER GUIDE www.soniccouture.com email : [email protected] SONICCOUTURE CLAV USER GUIDE SONICCOUTURE CLAV CONTENTS INSTALLATION ABOUT THE CLAV THE KONTAKT INSTRUMENT INSTRUMENT PANEL OPTIONS PANEL EFFECTS PANEL SUPPORT E.U.L.A www.soniccouture.com email : [email protected] SONICCOUTURE CLAV USER GUIDE INSTALLATION 1. Put the ‘SC Clav’ folder somewhere safe on your system (C drive) or main Macintosh Hard Drive. You can move the library folder to a separate HD after you have authorized it. If you do not own Kontakt 5, you will need to download and install the free Kontakt player which you can do here: Kontakt Player Download Link TO ADD THE LIBRARY AND AUTHORIZE IN KONTAKT 1. In Kontakt or Kontakt Player open the Browser on the left (the folder Icon at the top). 2. In the Libraries tab at the top of the Browser go to "Add Library" 3. Click and use the dialogue window to navigate to and point Kontakt to the location of the Soniccouture Clav>Library folder. This will add it to the Kontakt Library list AND to the Service Center. 4. If Kontakt asks you to Activate the library, the NI Service Center program will launch and you will need your serial number to authorize Clav. If Kontakt doesn't ask you to authorize, you can force it to by clicking the little "Activate" button in the upper right corner of our Clav Library pane, in the Browser/Libraries list. It will then prompt you to launch the Service Center. (You will find your serial number in the email you were sent when you purchased. -
Understanding Music Past and Present
Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Dahlonega, GA Understanding Music: Past and Present is licensed under a Creative Commons Attribu- tion-ShareAlike 4.0 International License. This license allows you to remix, tweak, and build upon this work, even commercially, as long as you credit this original source for the creation and license the new creation under identical terms. If you reuse this content elsewhere, in order to comply with the attribution requirements of the license please attribute the original source to the University System of Georgia. NOTE: The above copyright license which University System of Georgia uses for their original content does not extend to or include content which was accessed and incorpo- rated, and which is licensed under various other CC Licenses, such as ND licenses. Nor does it extend to or include any Special Permissions which were granted to us by the rightsholders for our use of their content. Image Disclaimer: All images and figures in this book are believed to be (after a rea- sonable investigation) either public domain or carry a compatible Creative Commons license. If you are the copyright owner of images in this book and you have not authorized the use of your work under these terms, please contact the University of North Georgia Press at [email protected] to have the content removed. ISBN: 978-1-940771-33-5 Produced by: University System of Georgia Published by: University of North Georgia Press Dahlonega, Georgia Cover Design and Layout Design: Corey Parson For more information, please visit http://ung.edu/university-press Or email [email protected] TABLE OF C ONTENTS MUSIC FUNDAMENTALS 1 N. -
Popular Music in Germany the History of Electronic Music in Germany
Course Title Popular Music in Germany The History of Electronic Music in Germany Course Number REMU-UT.9811001 SAMPLE SYLLABUS Instructors’ Contact Information Heiko Hoffmann [email protected] Course Details Wednesdays, 6:15pm to 7:30pm Location of class: NYU Berlin Academic Center, Room “Prenzlauer Berg” (tbc) Prerequisites No pre-requisites Units earned 2 credits Course Description From Karlheinz Stockhausen and Kraftwerk to Giorgio Moroder, D.A.F. and the Euro Dance of Snap!, the first nine weeks of class consider the history of German electronic music prior to the Fall of the Wall in 1989. We will particularly look at how electronic music developed in Germany before the advent of house and techno in the late 1980s. One focus will be on regional scenes, such as the Düsseldorf school of electronic music in the 1970s with music groups such as Cluster, Neu! and Can, the Berlin school of synthesizer pioneers like Tangerine Dream, Klaus Schulze and Manuel Göttsching, or Giorgio Moroder's Sound of Munich. Students will be expected to competently identify key musicians and recordings of this creative period. The second half of the course looks more specifically at the arrival of techno, a new musical movement, and new technology in Berlin and Germany in the turbulent years after the Fall of the Berlin Wall, up to the present. Indeed, Post-Wall East Berlin, full of abandoned spaces and buildings and deserted office blocks, was the perfect breeding ground for the youth culture that would dominate the 1990s and led techno pioneers and artists from the East and the West to take over and set up shop.