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Home , Cassette deck, Danger Mouse (musician), Ege Bamyasi, Max Mathews, Max Neuhaus, Mixtape

FINAL REVIEW

1 Structure

2pm on Thursday, Dec 8th, Murray Hall (here!)

40 - 50 Questions, all multiple choice

Designed to take about 45 minutes

Questions draw primarily on lecture content, although the readings are fair game.

If you’ve been attending the lectures you are in good shape.

Part I - Listening // Part II - Multiple choice (concepts & people)

2 Alternate Testing Site

For students who have provisions for extra time or a distraction free environment

same time — 2pm

Old Cabell Hall, Room B011 — also known as the VCCM

please email me by Tuesday night if you plan on taking the test in the B011

3 AUTOMATION

4 PEOPLE / GROUPS TERMS / TECHNOLOGIES

Tangerine Dream Kraftwerk 808 Linndrum Can Moog 960 Sequencer Rhythmicon Loops Vs. Sequences Conlon Nancarrow temporal dissonance

Often used poly-tempi and poly-meter

Complex temporal canons

Precise ratio-based acceleration and deceleration

Study 21 Player Piano History

Late 1700s: Barrel piano: stubs on cylinder encode

1804: Drawing-room barrel piano with no keyboard (John Longman)

1800s: Portable barrel pianos are popular street entertainment

1863: Pianista: frst pneumatic piano playing machine (Henri Fourneaux)

1895: Edwin Scott Votey creates the Pianola

1904: Edwin Welte completes frst “reproducing piano”

1904: Welte in Germany records a performer for use in creating player piano rolls

1900-1930: 2.5 million instruments sold in U.S.

Gramophones and radio reduced demand by 1930s CAN - EGE BAMYASI THE GERMAN SCENE

Characteristics of the “German scene”

Rock band instrumentation with Tape Manipulation Extended Improvisations Mechanical Beats Ambient Textures

Can collective spontaneous composition

LISTEN: SPOON Tangerine Dream

Formed in 1967 by Edgar Froese.

Most permanent members were Christopher Franke and Peter Baumann. Klaus Schulze was an early member, and went on to a successful solo career.

Infuenced by: Stockhausen, Jimi Hendrix, Steve Reich, , and French composers Maurice Ravel and Claude Debussy.

Played a pivotal role in the development of , Ambient and New Age Music. Moog 960 Sequential Controller (1968)

Used by Chris Franke for rhythmic and repetitive structures. Improvisation by using knobs and switches. Three rows of eight potentiometers, each sends out a fxed voltage. A control voltage “clock” controls the speed. Bottom row positions for “play,” “skip,” or “loop.”

Examples

Three rows could play three note chords if all are sent to VCOs, Voltage-Controlled Oscillators.

One row could control the pitch of a melodic sequence, while the second controlled flter cutoffs, while a third controls a VCA, Voltage- Controlled Amplifer. Kraftwerk

Ralf Hütter and Florian Schneider +

They began making music in 1968 with a and an organ

"Industrial folk music"

"Ethnic music from the German industrial center"

Technology as art, as it is, not resembling nature.

Cyborgs (biological and artifcial), Posthuman humans fused with machines

"Machines ARE funky" Rhythmicon

1931: Henry Cowell commissioned to build a machine that could play complex rhythms light is passed through radially indexed holes in a series of spinning 'cogwheel' discs before arriving at electric photoreceptors. 1980: Roland TR-808 Rhythm Composer

transistor rhythm (TR); sixteen ; 32 programmable steps Linn Drum (1982)

Used by , Diana Ross, ABBA, Genesis, , Kraftwerk, Cindy Lauper, Depeche Mode, & a million others. &

Patchwork (1977)

15 PEOPLE / GROUPS TERMS / CONCEPTS / TECHNOLOGIES

Laurie Speigel Digital Encoding Sampling Rate Matthews Bit Depth Binary (Bit / Byte) Nyquist Theorem Aliasing Music (Software) (Software) Types Of Synthesis Two Parameters of Digital Encoding Pulse-code (PCM)

Sampling Rate

How quickly are the of a signal measured? (time interval)

Bit Depth

How accurate are measurements when sampled? (pressure resolution) Sampling Rate

measured in hertz (Hz) the faster we sample, the better chance we have of getting an accurate picture of the signal in order to represent all sounds within the range of human hearing (20,000 Hz) we require a sampling rate of (at least) 40,000 Hz. (Nyquist Theorem)

Unwanted artifacts are audible when the sampling rate drops below 2x the highest . (Aliasing) Nyquist Theorem to well represent a signal, the sampling rate should be at least twice the highest frequency contained in the signal.

In mathematical terms: fs ≥ 2fc where fs is the sampling rate and fc is the highest frequency contained in the signal

The highest frequency we can accurately record is half the sampling rate, in other words, at least two points per period must be sampled Aliasing

a result of undersampling you not only lose information about the signal, but you get the wrong information.

the signal takes on a different “persona” -- a false presentation or “alias” Bit Depth

represents how accurately the analog wave can be represented.

A higher bit depth will have less noise and a better dynamic range.

16 bit-depth is the standard for CD audio. (65,536 values)

Professional audio systems have options for higher bit depths (DVD audio supports 24) and sampling rates (up to 96 and 192 kHz). Types of Synthesis

Additive synthesis complex tones can be created by the summation, or addition, of simpler tones (organ, telharmonium, fairlight CMI, Fourier theorem, )

Subtractive synthesis sculpting—start with noise (many ), and then flter them (James Tenney)

Formant synthesis a type of subtractive synthesis based on the resonant physical structure of the sound-producing medium, think speech (Paul Lansky)

Granular synthesis combining very short sonic events called 'grains' to generate complex textures (Xenakis)

Frequency Modulation the frequency of a simple waveform (carrier wave) is modulated by another (FM Synthesis) frequency (modulator wave)(John Chowning) MAX MATHEWS

Often cited as the “Father of Computer Music”

He continued to develop Music (the program) throughout the 1960s frst real-time computer system Groove in 1968 a conductor program and instrument called the Radio Baton (tracked x- y-z positions - we have one here!)

From 1987 to 2011, Professor of Research at .

The program Max/MSP is named in his honor JAMES TENNEY

Worked at from 1961-1963, composing 6 pieces.

Analog #1 (Noise Study) is an exploration of noise through fltering (digital subtractive synthesis).

Developed while listening during commutes through the Holland Tunnel

In 1967 he gave an infuential FORTRAN workshop for a group that included Steve Reich, Nam June Paik, Dick Higgins, Jackson Mac Low, Phil Corner, Alison Knowles and Max Neuhaus. LAURIE SPIEGEL worked with Max Mathews at Bell Labs pioneered hybrid digital/analog composition methods built Music Mouse - An Intelligent Instrument (1986) experimented with early computer animation IANNIS XENAKIS granular synthesis, computer-aided methods graphic synthesis, graphic scores, UPIC excerpt from “Mycenae Alpha” (1978) FM SYNTHESIS

Frequency modulation frst used in radio

FM synthesis developed by John Chowning in the early 1970s effcient algorithm - little computation to generate rich sound palettes. when the modulating frequency is less than 30 Hz, it’s called vibrato, but above 30Hz, sidebands are generated, adding to the carrier wave’s complexity

Yamaha DX7 (1980), one of the most popular synths of all time PAUL LANSKY digital voices and formant synthesis, linear predictive coding excerpt from “Idle Chatter Junior” (1985)

Radiohead sampled his "Mild und Leise" (1973) in their song “Idioteque” on Kid A (2000) teaches at Princeton DISCO, SYNTHPOP & DIGITAL

29 PEOPLE / GROUPS TERMS / CONCEPTS / TECHNOLOGIES

Gloria Gaynor Fairlight CMI Donna Summer Synclavier II DX7 Tom Moulton Culture context for Disco David Mancuso (The Loft) Musical features of Disco Nicky Siano (The Gallery) The Loft & The Gallery Chic Studio 54 Saturday Night (Film) Disco Demolition Night DIGITAL SYNTHESIS — ANALOG SYNTHESIS

Sampling & Wavetable Subtractive synthesis Additive Synthesis FM Synthesis FM Synthesis abstract control manual control

“precision” “character” FAIRLIGHT CMI (1979)

• CMI = computer • frst polyphonic digital sampling ($20k) • 28MB of memory • Used by , Jean Michel Jarre, Kate Bush SYNCLAVIER II (1980 - 1982)

• 16-bit hard drive recording device. $200,000 - $500,000 • Micheal Jackson [Thriller], The Cure, New Order, , Paul Simon, Pink Floyd, Kraftwerk, Depeche Mode, Genesis, Frank Zappa, many flm studios. DX7

FM Synthesizer based on the research of John Chowning frst commercially successful digital synthesizer

MIDI (Musical Instrument Digital Interface)

MUSICAL CONTEXT

INFLUENCES: prog rock — over-the-top ideals soul / — beat/structural aspects hippie (free love) movement - ideology

a reaction against rock’s hyper- masculinity

David Mancuso Nicky Siano The Loft The Gallery MUSICAL CHARACTERISTICS

Rhythm - 120 BPM, 4 on the foor

Syncopated bass lines (funk infuence)

Powerful/soaring vocal lines (lots of reverb)

Elaborate/lush

Giorgio Moroder

Italian producer, keyboardist, composer

Moroder’s “From Here to Eternity” (1977) infuenced synthpop, electronic dance forms (house, techno) Chic formed by Niles Rodgers Listening: 1978’s “Le Freak”

STUDIO 54 Saturday Night Fever (1977) Disco Demolition Night

July 12, 1979 - Comiskey Park, Chicago

HOUSE, TECHNO & THE ORIGINS OF ELECTRONIC DANCE MUSIC

43 PEOPLE / GROUPS TERMS / CONCEPTS / TECHNOLOGIES

Larry Levin the studio as an instrument Frankie Knuckles Paradise Garage (NYC) Jesse Saunders Chip-E Warehouse (Chicago) Juan Atkins Techno Music Kevin Saunderson Musical Characteristics of House & Techno Derrick May Acid House TB-303 Music

House music borrowed disco’s percussion, with the bass drum on every beat, with hi-hat 8th note offbeats on every bar and a snare marking beats 2 and 4.

House musicians added synthesizer bass lines, electronic drums, electronic effects, samples from funk and pop, and vocals using reverb and . They balanced live instruments and singing with electronics.

Like Disco, House music was “inclusive” (both socially and musically), infuenced by synthpop, rock, reggae, new wave, punk and industrial.

Music made for dancing. It was not initially aimed at commercial success. Frankie Knuckles and The Warehouse

"The Godfather of House Music"

Grew up in the South Bronx and worked together with his friend Larry Levan in NYC before moving to Chicago.

Main DJ at “The Warehouse” until 1982

In the early 80’s, as disco was fading, he started mixing disco records with a drum machines and spacey, drawn out lines. The style spread to NYC by the mid 80’s.

Listen: “Your Love” (1985) Jesse Saunders

"the originator of House music"

Chicago DJ who headlined major clubs and opened up his own club, “The Playground” in 1982. set up the frst house , was the frst house artist signed to a major label, and was the frst house DJ to enter the Billboard music charts

“I used the bassline from Space Invaders and I wrote original around it to produce and write ‘Fantasy’! ‘On & On’ is the DJ track version of ‘Fantasy’!”

In 1984 he released the frst House single, “On and On.”

Listen: “On and On” (1984) Chip-E

Worked with Frankie Knuckles, co-producing Frankie’s frst record You Can’t Hide

His frst release "Jack Trax" is one of the most coveted early house music releases

Shows the early potentials of digital samplers and key mapping.

The Akai S900, the frst affordable sampler and the most popular for all forms of electronic dance music, was just about to hit the market.

Listen: “It’s House” (1985) Detroit Techno

Techno originated as an offshoot of house music

Focused on the idea of harmony between human and machine. (Kraftwerk)

Traded lush house vocals for metallic clicks, spoken words, robotic voices and repetitive hooks.

Themes about the future, robots, science fction.

“This musical evolution is paralleled by the multiplication of machines, which collaborate with man on every front.” – Luigi Russolo from the Futurist Manifesto,”The Art of Noises” (1913) The Belleville Three

Juan Atkins, Derrick May and Kevin Saunderson are often referred to as the “Belleville Three” - all attended Belleville High School. Considered the pioneers of the techno genre.

Atkins Saunderson May Juan Atkins The “Originator”

Atkins coined the term “Techno” from the phrase “Techno Rebels,” from Alvin Toffer’s book The Third Wave.

In 1981 Juan Atkins and Richard Davis (aka “3070”) formed Cybotron with ideas taken from science fction, P-Funk and Kraftwerk.

Atkins also performed DJ sets with his friend Derrick May, calling themselves Deep Space.

1984 Atkins’ "Techno City" became a huge hit in Europe

Excerpt from “Techno City” (as Cybotron) 1984 Derrick May The “Innovator”

"Techno is just like Detroit… a complete mistake. It's like George Clinton and Kraftwerk are stuck in an elevator with only a sequencer to keep them company." - May

Listen: May’s classic techno anthem “Strings of Life” (1987) Kevin Saunderson The “Elevator”

Saunderson established himself as an eclectic techno producer who incorporated house and disco elements into his music; he quickly achieved commercial success.

Some of Saunderson’s biggest hits “Big Fun” (1987) and “Good Life” (1988) were collaborations with singer Paris Grey (the pair called themselves Inner City).

His hits introduced Europeans to his brand of techno; hard-edged electronic sounds with soulful melodies. Composition & Mapping PEOPLE / GROUPS TERMS / CONCEPTS / TECHNOLOGIES

Oliver Messiaen Program music Transcription Matthew Burtner Mapping Christina Kubisch Sonification Hildegard Westerkamp Audification David Dunn Soundscape composition Acoustic Ecology John Cage, Atlas eclipticalis (1961-1962) for open instrumentation

Atlas eclipticalis 1950.0 by astronomer Antonín Bečvár (1957) Iannis Xenakis, Pithoprakta (1958) for 2 trombones, 46 strings, xylophone and woodblock

– based on the statistical mechanics of gases, Gauss's law, or Brownian motion. Each instrument is conceived as a molecule. This theory states that "the temperature of a gas derives from the independent movement of its molecules” Sonification

Conversion of data into audio. Its use may be didactic or artistic. Audification

Process of taking a vibration signal outside the range of normal human hearing and shifting it into the audible range Christina Kubisch, Security (from “Electrical Walks”)

"Electrical Walks is a public walk with custom-made sensitive wireless by which aboveground and underground electromagnetic fields are detected, amplified and made audible. While the sounds were mixed, they were not altered at all electronically or by any other means.”

- Christina Kubisch SOUNDSCAPE COMPOSITION

Hildegard Westerkamp, Cricket voice DUB & HIPHOP PEOPLE / GROUPS TERMS / CONCEPTS / TECHNOLOGIES

King Tubby Soundsystems (Jamaica) Lee “Scratch” Perry Dubplates Kool Herc Mixer as Instrument Afrika Bambaataa Parts of a Mixer Dub Effects Public Enemy The Break () Queen Latifah Culture Erik B & Rakim SOUNDSYSTEMS

Studio + label + speaker system

Fierce competition - “clashes”

Stone Love Movement Tom the Great Sebastian Arrows the Ambassador Tubby's Hometown Hi-Fi Jah Shaka Tippatone Emperor Faith Killamanjaro Bass Odyssey Black Chiney Creation Rock Tower DUBPLATES

Selector plays records and the deejay “toasts”

Deejay needs instrumentals to talk over

Initially a vocal-less mix on the B-sides of records

Emergence of one-off “dubplates” of current songs

Acetate cuts, limited to a few plays

High demand KING TUBBY

Listen: Augustus Pablo, “King Tubby Meets Rockers Uptown” Inputs / Outputs

Sends

EQ

Volume / Pan EFFECTS

All kinds of Delay!

Mu-Tron , 1973 (later famously used on Smashing Pumpkin’s Siamese Dream in 1993)

Roland Space Echo Tape speed + feedback adjustments

Dub is “the ghost in me coming out” – Lee Perry The Break Kool Herc had a disco setup – two turntables

No dubplates available, so in addition to disco techniques (slip-cueing and beat matching), he would get two identical records with a good “break beat” (e.g. Funky Drummer), and play the section over and over by alternating between them.

Dancers who showed off in these extended breaks – break dancers – were called b-boys and b-girls, and he toasted to encourage them, the origin of the MC. KOOL HERC

Clive Campbell immigrated from Kingston, Jamaica in 1967 at age 12 to the South Bronx in NYC

Started throwing Kingston-style parties, playing hard funk and soul – eventually had his own soundsystem, Herculords AFRIKA BAMBAATAA

Godfather of hip-hop, went from being a gang leader in the Black Spades to a community leader and DJ

Outlined the four elements of hip-hop: DJing, MCing, breakdancing, graffti PLANET ROCK

Afrika Bambaataa and Soulsonic Force, 1982

Infuenced by Kraftwerk, Y.M.O., Gary Numan, George Clinton, “Electro” style blends synthesizer and sounds with breakbeats, expanded the palette and ambition hip-hop production

Listen: Afrika Bambaataa & Soulsonic Force, “Planet Rock” GRANDMASTER FLASH

Expanded on Herc and Theodore’s techniques to elevate the turntables to a virtuosic instrument

Listen: “The Adventures of Grandmaster Flash on the Wheels of Steel” 1981

DJ mixer Public Enemy

Listen: “Fight the Power” (1989)

Theme of Spike Lee’s Do the Right Thing

Bomb Squad production – multitracking DJ mixes QUEEN LATIFAH

Listen: “Ladies First”, 1989

Activist, and Zulu Nation collectives

Later successful as an actor and TV personality

Introduced in the 60s in Germany by , popularized in the US in the late 70s by Sony

DJs would record their performances to tape and sell dubs

Boombox, enabled breakdancing

The – MCs showcasing their skills on tapes and distributing to radio DJs SAMPLING PEOPLE / GROUPS TERMS / CONCEPTS / TECHNOLOGIES

John Oswald Plunderphonics Negativeland Digital Samplers Carl Stone MPC Danger Mouse E-MU SP1200 Software Sampling Crate digging Funky Drummer and Amen Breaks Internet’s role in sampling as an art form Plunderphonics John Oswald Carl Stone SAMPLING

Negativeland Danger Mouse The Grey (2004)

+ = SAMPLING TECHNOLOGIES THE SAMPLER

E-mu SP-1200, 1987

Fine-grained control over samples: pitch-shift, looping, and pad-based triggering

Can ‘slice’ samples, important for the emergence of electronic dance styles MPC The Internet ELECTRONIC VOICES

87 PEOPLE / GROUPS TERMS / CONCEPTS / TECHNOLOGIES

Trevor Wishart Dynamic Condenser Microphone Microphone Polar Patterns Proximity Effect Holly Herndon Crooning Stevie Wonder Vocoder

dynamic !

Two most common types of microphones:

Dynamic condenser Condenser Dynamic Microphones

versatile and ideal for general-purpose use

relatively sturdy and resilient

better suited to handling high volume levels Condenser Microphones

require power from a battery or external power source tend to be more sensitive and responsive than dynamic mics, but less suited for high volumes Microphone Polar Patterns

Directional Sensitivity indicates how sensitive it is to sounds arriving at different angles about its central axis Considerations for Microphone Placement inverse-square law: distance vs. intensity

High frequencies are more directional than low frequencies.

Room sound: close mic for less hall sound (reverberation)

Proximity Effect: (Bass boost) on directional mics.

Bass Rolloff: reduces low frequency sensitivity

Phase Cancellation: frequencies 180 degrees out of phase will cancel - Constructive-Destructive Interference Trevor Wishart

Professor at the University of Oxford composer whose interests deal mainly with the human voice, in particular with the transformation of it and the interpolation by technological means between human voice and natural sounds.

Excerpt from Tongues of Fire (1994)

Transposition () Truncation (cutting) Overlap (mixing) Inversion Speed Change Joan La Barbara

Vocalist and composer

Has worked with John Cage, , Morton Feldman, Philip Glass, , Peter Gordon, and Merce Cunningham.

Listen/Watch: Joan La Barbara Performing Christian Marclay's Manga Scroll TALK BOX

An effects pedal that allows a musician to shape the sound of their instrument much like the vibrations of our vocal cords are shaped by our mouths.

When activated, the sound from the amplifer is directed through the tube into the performer's mouth. The shape of the mouth flters the input signal (synthesizer, guitar, etc) using the vocal cavity, effectively making it sound like the guitar is talking.

96

“voice” + “encoder”

Developed in 1928 at Bell Labs as a way to encrypt voice communication.

combining the formant qualities of the input (typically speech) with the sonic qualities of the output (usually a synthesizer). The result is “robotic” sounding speech, with the fltering characteristics of the voice, and the timbre of a synthesizer.

Sound is passed through a multi-band flter, with each band then going to an envelope follower, which controls then flters a different sound. The result takes the spectral envelope of one sound, and maps it onto another.

97 AUTO-TUNE

audio effect that measures and alters pitch in vocal and instrumental input through use of a phase vocoder.

scale both the frequency and time domains of audio signals by using phase information. The computer algorithm allows for time expansion/compression and pitch shifting

Uses a Fast Fourier Transform to quickly analyze and resynthesize the frequency domain of the voice

“Photoshop for the human voice”

Authenticity Controversies

98 LAURIE ANDERSON

Known primarily for her multimedia presentations she has cast herself in roles as varied as visual artist, composer, poet, photographer, flmmaker, instrument builder, vocalist, and instrumentalist.

O Superman launched Anderson’s recording career in 1980, rising to number two on the British pop charts and subsequently appearing on Big Science, the frst of her seven

99 HOLLY HERNDON

100 SOUND ART

PETER VOGEL, TEMPOWECHSEL, 2010 PEOPLE / GROUPS TERMS / CONCEPTS / TECHNOLOGIES

Christian Marclay intermedia Janet Cardiff acoustic ecology deep listening R. Murray Schafer sound art Christina Kubisch Peter Vogel Janet Cardiff Acoustic Ecology

The Soundscape by R. Murray Schafer (1977, 1993) Pauline Oliveros

A composer, performer, and theorist known for the concept and practice of “deep listening”

Sonic Awareness

Listening to how you listen. "Sonic awareness is a synthesis of the psychology of consciousness, the physiology of the martial arts, and the sociology of the feminist movement" and describes two ways of processing information, focal attention and global attention 106

Maryanne Amacher

Head Rhythm 1 And Plaything 2

Album: Sound Characters: Making The Third Ear 107

Christina Kubisch

German artist and composer, interested in synesthetic experiences.

Works outside of traditional and gallery contexts, began Electrical Walks series in 2004

Electromagnetic induction sonifes electromagnetic felds via custom headphones

Electrical devices in the urban landscape produce patterns – she creates tours/compositions for listening to those patterns

A map of space becomes an electronic composition Peter Vogel, Sound Sculptures Trimpin & DATA SONIFICATION PEOPLE / GROUPS TERMS / CONCEPTS / TECHNOLOGIES

Ada Lovelace Data Sonification Ryoji Ikeda Algorithm Lejaren Hiller Music Mouse

supersymmetry NEW INSTRUMENTS AND DIGITAL CONTROLLERS PEOPLE / GROUPS TERMS / CONCEPTS / TECHNOLOGIES

Pamela Z differences between acoustic and digital instruments Laetitia Sonami control & feedback Michel Waisvisz sensors Miya Masaoka actuators Myriam Bleau augmented instruments alternate controllers instrument-like controllers Monome Reactable PERFORMING WITH DIGITAL SYSTEMS

Interaction between a human and a system is a two way process: control and feedback

PERFORMING WITH DIGITAL SYSTEMS

HUMAN INTERACTION COMPUTER

SENSES ACTUATORS

MEMORY & MEMORY & COGNITION COGNITION? EFFECTORS SENSORS PERFORMING WITH DIGITAL SYSTEMS

Sensors are the sense organs of the machines.

Actuators output electrical energy in sensible forms.

AUGMENTED INSTRUMENTS

Augmented instruments are acoustic instruments that have metasax (Burtner) MIMICS (Rovan) been ftted with sensors so that information concerning gestural parameters can be transmitted in real-time.

hyperviolin INSTRUMENT-LIKE CONTROLLERS

EWI (Akai)

Often build upon existing paradigms to add the potentials of electronic synthesis to well-established practices.

Little need to develop new playing techniques

Electronic Trumpet (Yamaha) ALTERNATE CONTROLLERS

Alternate controllers are not directly modeled on or inspired by existing acoustic instruments MICHEL WAISVISZ

Dutch composer, performer and inventor of experimental electronic musical instruments.

He was the artistic director of STEIM in Amsterdam from 1981, where he collaborated with musicians and artists from all over the world. LAETITIA SONAMI sound artist and performer

Her signature instrument, the lady’s glove, allows her to control sounds, mechanical devices, and lights in real- time. Myriam Bleau - Soft Revolvers