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Historia De La Tecnología Musical - Sintetizadores

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Historia De La Tecnología Musical - Sintetizadores Historia de la tecnología musical - Sintetizadores Se presentan en este artículo breves reseñas de los instrumentos musicales electrónicos previos al desarrollo de los instrumentos digitales (que alcanzaron su plenitud a partir de 1980 con los sintetizadores digitales, el sampler y las computadoras). También se hace referencia a algunas de las tendencias estéticas y corrientes musicales (hasta 1950) más ligadas al desarrollo tecnológico o más influidas por este. -1891 Dynamophon o Telharmonium de Taddeus Cahill: Considerado el primer instrumento musical electrónico plenamente desarrollado, era una especie de órgano eléctrico con generadores por ruedas dentadas (dinamos que movilizaban engranajes) que producían tensiones sinusoidales a distintas frecuencias cuyas amplitudes (volumen) podían ser atenuadas mediante resistencias determinando las características de cada registro. Pesaba cerca de 200 toneladas y, ante la inexistencia de los altavoces o parlantes, el instrumento solo podía escucharse por medio de una red telefónica. En 1906 se lo consideraba un "invento eléctrico para producir música científicamente perfecta”. -1919 Eterófono, Termenvox o Theremin de León Theremin (Lev Termen): Instrumento que utiliza generadores de ondas heterodinas y dos antenas: interfiriendo con la mano las antenas el ejecutante puede controlar la altura del sonido y su amplitud, sin tener contacto físico con el instrumento. Dado el timbre casi puro producido por el theremin, el rango musicalmente aprovechable no superaba las 4 octavas. El instrumento fue muy bien recibido en la primera época de la Revolución Rusa y Theremin realizo giras por Alemania, Francia y EE.UU. antes del ascenso definitivo de Josef Stalin en la U.R.S.S. Para la presentación en Francia fue la primera vez que se vendieron entradas de pie en la Opera de París. La RCA fabricó algunos theremins en EE.UU. antes de la primera mitad del siglo y Clara Rockmore se convirtió en la más importante interprete de theremin. Ya en los '90, antes del fallecimiento de L. Theremin (1993), Robert Moog (que se había dedicado a la fabricación de theremin en las décadas del ´50 y ´60) rescató y modernizó el instrumento renovando la vigencia del primer instrumento musical de control ''aéreo". Theremin además creó el terpsitone cuya interpretación se realizaba con el cuerpo entero y el ritmicón, primitivo secuenciador de mecanismo fotoeléctrico; además de inventar violoncelos, teclados y percusiones electrónicas. Algunas obras: Equatorial, (1934) de Edgar Varese. Fantasía para aparatos Theremin, oboe, cuarteto de cuerdas y piano, (1944) de Bohuslav Martinu Concierto para Thremin y orquesta, (1945) de Anis Fuleihan. El theremin ha sido muy utilizado desde los ´60 por músicos como Jean Michel Jarre, Radiohead, The Beach Boys, Porthished, etc. El particular timbre del instrumento (que ha sido descrito como una mezcla de una voz y un violín) es muy reconocible en las bandas de sonido de películas de ciencia ficción de las décadas del ´50 y ´60. Ensamble de Theremins, 1930 -1907-1935 Futurismo: En 1907, Ferruccio Busoni escribió en su Esquema de una nueva estética en la música que el desarrollo de la música se frustraría por las limitadas posibilidades de los instrumentos tradicionales de la época. En 1912, el escritor Filippo Marinetti publica el Manifiesto técnico de la literatura futurista que inicia formalmente el movimiento futurista al cual el compositor Luigi Russolo adhirió. El futurismo se caracterizó por su gran admiración por el progreso, la tecnología y la vida moderna, lo que los llevo a incorporar definitivamente los más variados ruidos dentro del lenguaje musical, revalorando los instrumentos de percusión como vehículos aptos para crear detalladas estructuraciones rítmicas que evocaran motores, engranajes, explosiones y todo tipo de ruido propio de la afiebrada vida del occidente industrializado. Russolo caracterizo los ruidos en crujidos y estampidos, siseos y silbidos, sonidos obtenidos por fricción o percusión y chirridos, murmullos y susurros y también, voces de animales y humanos. Gracias a esta distinción construyó el intonarumore, instrumento mecánico capaz de producir ruidos específicos, dando su primer concierto en 1913 en Modena. La adhesión de muchos futuristas italianos a la ideología fascista provoco el rechazo de la comunidad artística a esta tendencia. Algunas obras futuristas o aproximadas: Reunión de aeroplanos y automóviles, (1914), de Luigi Russolo. Parade, (1917), de Erik Satie. Ionizacion, (1924), de Edgar Varese (presentada en 1931). Ballet Mecanique, (1927), de Goerge Antheil. -1928 Ondas Martenot de Maurice Martenot: Fue el primer instrumento electrónico medianamente exitoso y confiable. Su creador comenzó a desarrollarlo en 1917 empleando el sistema de osciladores que se utilizaba también en el theremin y el esferófono de Jörg Mager. El instrumento disponía de un teclado y una cinta que permitía variar la altura del sonido y luego se fue perfeccionando transformándose en un instrumento muy expresivo para el intérprete: se podían ejecutar alturas desde el teclado, realizar glissandos, trémolos, vibratos y ligaduras; funciones que combinan las posibilidades de los instrumentos de teclado y de cuerdas, no limitándose a trabajar solo con escalas cromáticas. El martenot modelo de concierto solo pesa 25 kg., mide 1m. de largo, 20 cm. de ancho y con patas, 78cm de alto. Consume 60 watt y está dotado de una gran riqueza tímbrica ya que el instrumento posee una serie de filtros. Hasta comienzos de la década del '60 se habían vendido cerca de 200 martenots y su utilización solo se vio opacada con la llegada del sintetizador, aunque en los últimos tiempos el instrumento ha sido muy revalorizado. Ensamble de Ondas Martenot, 1937 Maurice Martenot y su instrumento Algunas obras; Poème Symphonique pour solo d´ondes et orchestre. (1928) de Dimitri Levidis. Turangalila, (1930), de Oliver Messiaen. La anunciación a Maria. (1932) de Darius Milhaud. Juana de Arco en la hoguera (1935) y Las Suplicantes (1941) de Arthur Honegger. Cinquième Fragment Synphonique (1954) obra microtonal para dos pianos afinados a distancia de cuartos de tono y ondas Martenot de Iván Wyschnegradsky. -1930 Trautonium y Mixturtrautonium de Friedrich Trautwein. A fines de los años ´20, Berlín era un importantísimo centro de vanguardia estética y estilística con una notable efervescencia musical. Este contexto junto con las particularidades históricas de la Alemania previa al ascenso del nazismo crearon un fervor por lo moderno que propició el desarrollo de una música maquinal y de los instrumentos para interpretarla. Trautwein se propuso crear un instrumento que combinara todas las posibilidades rítmicas, armónicas, interválicas y tímbricas en un instrumento que fuera, además, polifónico (lo que se consiguió 20 años después). Consideró que con sus creaciones contribuiría a reconciliar dos áreas del espíritu humano falsamente divididas: arte y técnica. La gran versatilidad del trautonio, su facilidad de operación y su relativamente bajo costo lo pusieron en la mira de varios músicos de vanguardia que lo consideraron idóneo para la creación de una infinita gama de timbres y también para la reproducción de sonidos de los instrumentos tradicionales, eludiendo sus limitaciones. Para 1933, en Berlín, se pudo apreciar la actuación de una orquesta eléctrica que constaba de dos theremins, un trautonio, un hellertión, el piano electromagnético Neo-Bechstein, un piano electroacústico, un violín y un violoncello sin caja y un generador electrolumínico experimental. Este conjunto interpretaba tanto obras populares como clásicas además de piezas compuestas especialmente para instrumentos electroacústicos. El músico y técnico Oskar Sala perfecciono el instrumento hasta convertirlo en una máquina extraordinaria transformando el relativamente simple trautonio en el mixtur-trautonium polifónico. Las cualidades tímbricas del trautonio y compositivas e interpretativas de Sala fueron apreciadas no solo por los músicos sino también por cineastas: Sala sonorizó, entre cientos de films, la filmación del documental El Hombre en la Luna y la película Los pájaros de Alfred Hitchcok. Oskar Sala, Alfred Hitchcok y el Trautonium Algunas obras: Concertino para trautonio y orquesta de cuerdas (1931) de Paul Hindemith. Pequeña música de cámara para instrumentos eléctricos (1932) de Paul Höffer. Abraxas (1949), ballet de Werner Egk. Concertino para Mixturtrautonio y orquesta eléctrica y Música para percusión electrónica (1954) de Oskar Sala. Concerto (1956) de Jürg Paur. Detalle del Trautonio de Mixturas, de Oskar Sala. - 1934 Órganos electromecánicos Hammond de Laurens Hammond y los órganos electrónicos. Construido bajo el mismo principio del telarmonio de Cahil de ruedas dentadas, Hammond construyo su órgano electromecánico básico con 91 ruedas con modelos que alcanzan un rango de siete octavas y media, controlados por 2 teclados de 61 notas y una pedalera de 32 y conteniendo 23 registros. A partir de la década del ´50 surgieron marcas dedicadas a la producción de órganos electrónicos como las hoy desconocidas Bade, Connsonata, Estey o Sonora, así como Wurlitzer, Allen, Philips, AWB y Baldwin, durante los ´60 los Vox Continental o los Farfisa y durante los ´70 las japonesas Kawai, Casio y Yamaha, que rompen la hegemonía europea y estadounidense en materia construcción y desarrollo de los instrumentos musicales electrónicos. Los órganos electrónicos y el Hammond, a diferencia de los instrumentos vistos anteriormente, son utilizados
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