Electronic Music Machines: the New Musical Instruments Jean-Michel Reveillac

Total Page：16

File Type：pdf, Size：1020Kb

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. To purchase this product, please visit https://www.wiley.com/en-ag/9781119618102.

Copy Link

Recommended publications

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.
[Show full text]
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.
[Show full text]
Sampling Without Authorisation Can Infringe a Phonogram Producer's
Court of Justice of the European Union PRESS RELEASE No 98/19 Luxembourg, 29 July 2019 Judgment in Case C-476/17 Pelham GmbH, Moses Pelham and Martin Haas v Ralf Hütter and Florian Press and Information Schneider-Esleben Sampling without authorisation can infringe a phonogram producer’s rights However, the use of a sound sample taken from a phonogram in a modified form unrecognisable to the ear does not infringe those rights, even without such authorisation In 1977, the group Kraftwerk published a phonogram featuring the song Metall auf Metall. Mr Moses Pelham and Mr Martin Haas composed the song Nur mir, which was released on phonograms recorded by Pelham GmbH in 1997. Some members of Kraftwerk, Mr Ralf Hütter and Mr Florian Schneider-Esleben, claim that Pelham copied, by means of the technique known as sampling, 1 approximately 2 seconds of a rhythm sequence from the song Metall auf Metall and used that sequence in a loop in the song Nur mir. On the basis that their related right as the producers of the phonogram2 in question was infringed, Mr Hütter and Mr Schneider-Esleben seek, inter alia, a prohibitory injunction, damages and the surrender of the phonograms featuring the song Nur Mir for the purposes of their destruction. The Bundesgerichtshof (Federal Court of Justice, Germany), before which an appeal has been brought, in particular, asks the Court of Justice, in essence, whether the non-authorised inclusion of a sound sample in a phonogram by means of sampling taken from another phonogram constitutes, in the light of EU copyright and related rights law3 and of the fundamental rights enshrined in the Charter of Fundamental Rights of the European Union, an infringement of the rights of the producer of the phonogram from which the sample in question was taken.
[Show full text]
James Brown, Kraftwerk, and the Practice of Musical Time-Keeping Before Techno David Reinecke University of Pennsylvania
CORE Metadata, citation and similar papers at core.ac.uk Provided by ScholarlyCommons@Penn University of Pennsylvania ScholarlyCommons Undergraduate Humanities Forum 2007-2008: Penn Humanities Forum Undergraduate Research Origins Fellows April 2008 When I count to four…: James Brown, Kraftwerk, and the practice of musical time-keeping before Techno David Reinecke University of Pennsylvania Follow this and additional works at: http://repository.upenn.edu/uhf_2008 Reinecke, David, "When I count to four…: James Brown, Kraftwerk, and the practice of musical time-keeping before Techno" (2008). Undergraduate Humanities Forum 2007-2008: Origins. 9. http://repository.upenn.edu/uhf_2008/9 2007-2008 Penn Humanities Forum on Origins, Undergraduate Mellon Research Fellows. URL: http://humanities.sas.upenn.edu/07-08/uhf_fellows.shtml This paper is posted at ScholarlyCommons. http://repository.upenn.edu/uhf_2008/9 For more information, please contact [email protected]. When I count to four…: James Brown, Kraftwerk, and the practice of musical time-keeping before Techno Abstract "Of all creative artists," wrote Hector Berlioz in his famous orchestration treatise, "the composer is almost the only one to depend on a host of intermediaries between him and his audience" (Berlioz, 2002 [1856]: 336). These intermediaries – the orchestra and its leader and time keeper, the conductor – "may be intelligent or stupid, devoted or hostile, energetic or lazy; from first to last they can contribute to the glory of [the] work, or they can spoil it, insult it, or even wreck it completely" (Ibid.). From written score to performance, realizing a composer's work of music becomes an acute problem of both collective action and aesthetic interpretation.
[Show full text]
Electronic Music - Inquiry Description
1 of 15 Electronic Music - Inquiry Description This inquiry leads students through a study of the music industry by studying the history of electric and electronic instruments and music. Today’s students have grown up with ubiquitous access to music throughout the modern internet. The introduction of streaming services and social media in the early 21st century has shown a sharp decline in the manufacturing and sales of physical media like compact discs. This inquiry encourages students to think like historians about the way they and earlier generations consumed and composed music. The questions of artistic and technological innovation and consumption, invite students into the intellectual space that historians occupy by investigating the questions of what a sound is and how it is generated, how accessibility of instrumentation affects artistic trends, and how the availability of streaming publishing and listening services affect consumers. Students will learn about the technical developments and problems of early electric sound generation, how the vacuum tube allowed electronic instruments to become commercially viable, how 1960s counterculture broadcast avant-garde and experimental sounds to a mainstream audience, and track how artistic trends shift overtime when synthesizers, recording equipment, and personal computers become less expensive over time and widely commercially available. As part of their learning about electronic music, students should practice articulating and writing various positions on the historical events and supporting these claims with evidence. The final performance task asks them to synthesize what they have learned and consider how the internet has affected music publishing. This inquiry requires prerequisite knowledge of historical events and ideas, so teachers will want their students to have already studied the 19th c.
[Show full text]
Make It New: Reshaping Jazz in the 21St Century
Make It New RESHAPING JAZZ IN THE 21ST CENTURY Bill Beuttler Copyright © 2019 by Bill Beuttler Lever Press (leverpress.org) is a publisher of pathbreaking scholarship. Supported by a consortium of liberal arts institutions focused on, and renowned for, excellence in both research and teaching, our press is grounded on three essential commitments: to be a digitally native press, to be a peer- reviewed, open access press that charges no fees to either authors or their institutions, and to be a press aligned with the ethos and mission of liberal arts colleges. This work is licensed under the Creative Commons Attribution- NonCommercial- NoDerivatives 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/ by-nc-nd/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, California, 94042, USA. DOI: https://doi.org/10.3998/mpub.11469938 Print ISBN: 978-1-64315-005- 5 Open access ISBN: 978-1-64315-006- 2 Library of Congress Control Number: 2019944840 Published in the United States of America by Lever Press, in partnership with Amherst College Press and Michigan Publishing Contents Member Institution Acknowledgments xi Introduction 1 1. Jason Moran 21 2. Vijay Iyer 53 3. Rudresh Mahanthappa 93 4. The Bad Plus 117 5. Miguel Zenón 155 6. Anat Cohen 181 7. Robert Glasper 203 8. Esperanza Spalding 231 Epilogue 259 Interview Sources 271 Notes 277 Acknowledgments 291 Member Institution Acknowledgments Lever Press is a joint venture. This work was made possible by the generous sup- port of
[Show full text]
The Construction of Listening in Electroacoustic Music Discourse
Learning to Listen: The Construction of Listening in Electroacoustic Music Discourse Michelle Melanie Stead School of Humanities and Communication Arts Western Sydney University. September, 2016 A thesis submitted as fulfilment for the degree of Doctor of Philosophy at Western Sydney University. To the memories of my father, Kenny and my paternal grandmother, Bertha. <3 Acknowledgements Firstly, to Western Sydney University for giving me this opportunity and for its understanding in giving me the extra time I needed to complete. To my research supervisors, Associate Professor Sally Macarthur and Dr Ian Stevenson: This thesis would not have been possible without your mentorship, support, generosity, encouragement, guidance, compassion, inspiration, advice, empathy etc. etc. … The list really is endless. You have both extended your help to me in different ways and you have both played an essential role in my development as an academic, teacher and just ... as a human being. You have both helped me to produce the kind of dissertation of which I am extremely proud, and that I feel is entirely worth the journey that it has taken. A simple thank you will never seem enough. To all of the people who participated in my research by responding to the surveys and those who agreed to be interviewed, I am indebted to your knowledge and to your expertise. I have learnt that it takes a village to write a PhD and, along with the aforementioned, ‗my people‘ have played a crucial role in the development of this research that is as much a personal endeavour as it is a professional one.
[Show full text]
1 HISTORY & AESTHETICS of ELECTRO-ACOUSTIC MUSIC
HISTORY & AESTHETICS of ELECTRO-ACOUSTIC MUSIC Course After its practical emergence in the late 1940’s, electro-acoustic music became an integral part of 20 th and 21 st century music history. This course will explore the aesthetical, ideological and technical evolution of electroacoustic music in historical context. Instructor C. Barkın Engin E-mail [email protected] Building Fac.of Arts and Social Sci. Room G030 Class Hours Monday / Tuesday 12:40 – 15:30 Prerequisites None Textbooks Chadabe, Joe. 1997. Electric Sound: The Past and Promise of Electronic Music. Upper Saddle River, NJ: Prentice-Hall. Cox, Christoph & Warner, Daniel. 2009. Audio Culture: Readings in Modern Music. New York: Continuum Manning, Peter. 1985. Electronic & Computer Music . New York: Oxford University Press. Wishart, Trevor. 1996. On Sonic Art. (2 nd edn.) New York: Routledge. Software Audacity http://audacity.sourceforge.net Recommended Emmerson, Simon. 1986. The language of Electro-acoustic Music . London: The Textbooks Macmillan Press. Landy, Leigh. 2007. Understanding the Art of Sound Organization . London. MIT Press. Rules Listening journals, etudes and final project are to be completed by the due date. No late submissions will be graded. Student presentations cannot be postponed. Assessment Attendance 10 %, Assignments & Quiz 20 %, Listening Journals % 30, Final Project 40 % 1 Course Syllabus Week Day Topic Commands, Assignments & Exams 1 Introduction to Aesthetics & Theory Reading: a) Fundamentals of electro-acoustic composition: Sonic continuum a) Wishart, Trevor - Chapter 1 & 2 b) Critical / analytical listening b)Busoni, Ferruccio - c) Modes of listening “Sketch of a New Early Technological & Theoretical Developments I Aesthetic of Music” a) Concise History of Audio recording c)Pratella, Balilla - “Manifesto of Futurist b) Echoes of the industrial revolution 1: The mutation of Musicians” the orchestra: Honegger, Antheil, and Mossolov.
[Show full text]
Krautrock and the West German Counterculture
“Macht das Ohr auf” Krautrock and the West German Counterculture Ryan Iseppi A thesis submitted in partial fulfillment of the requirements for the degree of BACHELOR OF ARTS WITH HONORS DEPARTMENT OF GERMANIC LANGUAGES & LITERATURES UNIVERSITY OF MICHIGAN April 17, 2012 Advised by Professor Vanessa Agnew 2 Contents I. Introduction 5 Electric Junk: Krautrock’s Identity Crisis II. Chapter 1 23 Future Days: Krautrock Roots and Synthesis III. Chapter 2 33 The Collaborative Ethos and the Spirit of ‘68 IV: Chapter 3 47 Macht kaputt, was euch kaputt macht: Krautrock in Opposition V: Chapter 4 61 Ethnological Forgeries and Agit-Rock VI: Chapter 5 73 The Man-Machines: Krautrock and Electronic Music VII: Conclusion 85 Ultima Thule: Krautrock and the Modern World VIII: Bibliography 95 IX: Discography 103 3 4 I. Introduction Electric Junk: Krautrock’s Identity Crisis If there is any musical subculture to which this modern age of online music consumption has been particularly kind, it is certainly the obscure, groundbreaking, and oft misunderstood German pop music phenomenon known as “krautrock”. That krautrock’s appeal to new generations of musicians and fans both in Germany and abroad continues to grow with each passing year is a testament to the implicitly iconoclastic nature of the style; krautrock still sounds odd, eccentric, and even confrontational approximately twenty-five years after the movement is generally considered to have ended.1 In fact, it is difficult nowadays to even page through a recent issue of major periodicals like Rolling Stone or Spin without chancing upon some kind of passing reference to the genre.
[Show full text]
Musique Acousmatique Und Ihre Parallelen Im Pop
Musique acousmatique und ihre Parallelen im Pop Diplomarbeit zur Erlangung des akademischen Grades eines Magisters der Philosophie an der Geisteswissenschaftlichen Fakultät der Karl-Franzens-Universität Graz vorgelegt von Christian TSCHINKEL am Institut für Musikwissenschaft Begutachter: Ao.Univ.-Prof. Priv.-Doz. Dr. Werner Jauk Graz, 2008 Vorwort und Danksagung Mit seiner charismatischen Vermittlung der systematischen Musikwissenschaft und ihrer psychologischen Relevanz, die unter anderem das Gebiet der elektronischen Medien gleicher- maßen wie das der populären Musikkulturen und Avantgarden umfasst, hat Werner Jauk vor vielen Jahren für mich die Funktion eines Mentors übernommen. Ohne es zu wissen, war ich wohl genau nach solchen Inhalten auf der Suche. Sein Unterricht sowie einige Gastvorträge innerhalb seiner Lehrveranstaltungen übten auf mich eine große Faszination aus, obwohl ich bei weitem nicht immer verstanden habe, was zeitgenössische Komponisten denn „eigentlich so tun“. Im Zuge der Auseinandersetzung mit diesen Themen habe ich den von Dieter Kaufmann ins Leben gerufenen Lehrgang für Computermusik und elektronische Medien an der Universität für Musik und darstellende Kunst Wien für mich entdeckt, dessen Lehrinhalte ich im dreijährigen Studium „wie ein trockener Schwamm“ aufgesogen habe. Zu meiner großen Überraschung brachte mich dieser Unterricht schon bald nach Paris, wo ich das IRCAM, die GRM und das CCMIX besuchen durfte. Viele dieser Erfahrungen fließen heute in meine eigene Musik sowie in diese Diplomarbeit mit ein, weswegen ich meinen herzlichen Dank gegenüber meinem Betreuer Werner Jauk und im Nachhinein auch allen meinen ehemaligen Lehrern der „ELAK-Wien“ für ihren inspirierenden Unterricht aussprechen möchte. Namentlich sind das Igor Lintz-Maues, Peter Mechtler, Wolfgang Musil, Germán Toro-Pérez, Günther Rabl und Tamas Ungvary.
[Show full text]
The Politics of Authenticity in Rock and Electronic Dance Music By
The Politics of Authenticity in Rock and Electronic Dance Music By Luke Pearson A thesis submitted to the Faculty Of Graduate And Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Master of Arts In Music and Culture Carleton University Ottawa, Ontario ©2012 Luke Pearson Library and Archives Bibliotheque et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-91588-2 Our file Notre reference ISBN: 978-0-494-91588-2 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distrbute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation.
[Show full text]
Kraftwerk's Influence on Music Technology & German Cultural
1 Through the Looking Glass: Kraftwerk’s Influence on Music Technology & German Cultural Identity Scott Shannon University of Houston, Texas, USA [email protected] Kyle J. Messick Ivy Tech Community College, Indiana, USA [email protected] https://orcid.org/0000-0002-0452-0922 2 Through the Looking Glass: Kraftwerk’s Influence on Music Technology & German Cultural Identity Although the band Kraftwerk have been extensively noted for their pioneering musical style, what has been given less attention is their broader cultural impact, how they served as a source for German identity in a time of crisis, and the conditions under which their music was formed and changed over time. This article examines their influence through the sense of cultural identity Kraftwerk provided for Germanic peoples post-World War II, their fundamental influence on future musical acts that would incorporate electronics into their music, their innovation in their creation of new musical instruments/technologies, and the application of those instruments in novel performance and recording settings. Keywords: Kraftwerk, krautrock, music technology, Germanic culture, identity The Emergence of Kraftwerk & Krautrock During the 1960’s and 1970’s, popular music as a whole experienced an explosion of growth and diversification. With the developments of the progressive rock and industrial scenes in the UK, the jazz fusion scene in the US, and the krautrock/“Berlin School” scenes in Germany, music was undergoing a complete cosmopolitan renaissance heavily rooted in sonic experimentation and pushing musical boundaries in a way that had never been witnessed before. “Krautrock” was the colloquial term used to describe the experimental rock that developed in West Germany in the late 1960s that combined elements of psychedelic rock, electronic music, and a broad range of avant-garde influences.
[Show full text]