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Index

Published online by Cambridge University Press:  27 October 2017

Edited by
Nick Collins  and
Julio d'Escrivan
Nick Collins
Affiliation:
University of Durham
Julio d'Escrivan
Affiliation:
University of Huddersfield

Summary

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Type
Chapter
Information
The Cambridge Companion to Electronic Music , pp. 317 - 330
Publisher: Cambridge University Press
Print publication year: 2017

Index

1, 2, 1-2-3-4, 47
1-Bit Symphony, 248
2001 A Space Odyssey, 193
242.pilots, 131–132
4’33 (Cage), 227
8-bit music, 81, 173–174, 248
Aarset, Eivind, 270–271
Abandoned Lake in Maine, 287
‘Abstract Cinema - Chromatic Music’, 125
abstract filmmaking, visual music, 125–126
academic electronic music, 32–33, 294
acousmatic music.see also Tape Music
challenges to, 31–32, 297–298
language and voice use, 208–209
listener interface, 37
musique concrète, 27, 141, 155, 157, 202, 203–205
use of noise, 209–211
origin, 9–10, 203
soundscapes, 163, 174–175, 218–219
spatial aspects, 211–215
streaming effects, 207–208
Acousmonium, 212
acoustic ecology, 174–175, 285, see also soundscapes
acoustic film music, 163
acoustic instruments with electronics, 258
current trends, 269–271
development, 96, 259–264
differences from traditional performance, 87
sampling, 267–269
spectral processing, 264–267
Acoustica (Behrman), 181
Acustica (Kagel), 241
Adams, John, 27, 268–269
adaptive music, 166
additive synthesis, 186–187
adempercloep, 252, 253f. 13.3
Adrien, Jean-Marie, 196
Aeolian Harp, 275
Aeriology, 236
aestheticism
acousmatic composition development, 212
in acoustic electronics, 263, 270
and algorithmic composition, 104, 145
in audiovisual music, 134–135
and DIY music, 239, 243, 255–256
electronic and acoustic compared, 202
and game music, 166, 167
and global connection, 32
information aesthetics, 145
and live electronics, 178, 262–264, 265–267, 270, 271–272
and microsound, 216–217
modes of listening, 203–204
and music for film, 163
and networks, 148
and software tools, 76
and sound art, 220–222, 225–226, 228, 230–231, 236–237
and spatial elements, 211, 213–215
and studio development, 27
and synaesthetic art, 134–135
and technology, 27–29, 32, 76, 201, 298
and transmission, 141, 146
affective approach to analysis, 287
Africa, as inspiration, 176
Aftershock, 285
AI hoaxes, 10–11
aleatoric principles, 114–115
Alexander, Amy, 133
algorithmic composition,see also sound synthesis
and aesthetics, 104, 145
chance, 116–118
and conversation rules, 146–147
development through serialism, 110–112
early computers, 60–61
EIS system, 79
future developments, 167
generative music, 118–119, 166, 167
historical perspective, 49, 104, 106–109, 275
human/electronic synchronisation, 67
live coding, 151–152
M.T.Brain, 182–183
and network music, 144, 145
pre-computer era, 19, 49
realtime composition, 119–121
sound art, 236–237
stochastic music, 112–114
video games, 166
Algorithmic Revolution, 105
Algorithmic Stream, The, 119
algorithms, 104, 105
Alpha Bean Lima Brain, 141
alternative controllers, 95
Alva Noto, 82–83, 269, see also Noto
amateur radio, influences, 239–240
ambient music, 118–119
Analogue B, 216
analogue performance, 53, 54f. 3.1, 88
analogue studio modules, 119–120
analogue synthesisers
Behrman synthesiser, 44
Cracklebox, 49–50, 247
development, 59–60
Hammond electric organ, 41, 87
interactive programs, 88–89, 90
live audiovisuals, 129
Moog synthesiser, 45, 88, 89
other early machines, 18, 41
Parker’s steam-powered, 55
for sampling, 295
Theremins, 18, 20, 40–41, 42, 94, 154, 157–158
video synths, 129
analogue-to-digital interfaces, 95–96
analysis of music,see electronic music analysis
Analytical Engine, 12, 59
Anderton, Craig, 241
Anecdotiques, Les, 208
Angel of Death, The, 260
Angels & Devils, 213
Antheil, George, 18
Any Resemblance is Purely Coincidental, 193
Apocalypse Now, 160
Archer, Phil, 53–54
Arduino platform, 248
Arel, Bülent, 78–79
Argon, 213, 217
Aronofsky, Darren, 161
ARP 2500, 292
Ars Magna, 107
art music, 183, 201–202, see also electroacoustic music
Art of the Gremlin, 243
art world,see also sound art; sound installations
use of electronic sound, 16–18
place of sound art, 227–228
Arte dei rumori, L’, 17–18
Artemiev, Eduard, 159–160
artificial intelligence hoaxes, 10–11
Ashley, Robert, 44–45
associative learnt synaesthesia, 134
Atkins, Juan, 170
Attali, Jacques, 35
audience, interactive listening, 36–37
audification, 284–285
audio rate in sound synthesis, 65
AudioBox, 28
audiovisual union groups, 132–133
Auracle, 150
Autechre, 67
automata
electronic music origins, 10–11
in literature, 11–12
‘Automata’ (Hoffmann), 11–12
Baba Zula, 177
Babbage, Charles, 12
Bach, J.S. Goldberg Variations, 106
Bacon, Francis, on sound-houses, 7–8, 33
Bailey, Christopher, 37
Ballet mécanique, 18
Balzac, Honoré de, ’Gambara’, 12
band pass filters, 285
Barrett, Natasha, 285
Barron, Louis and Bebe, 158–159, 163
Bates, Martin, 269
Bayle, François, 208, 212
Bed of Nails, 247
Begin Again Again, 263
Behrman, David, 44, 88, 180–181
Beige collective, 55
Bell Labs, 62, 63, 185–187, 188, 193, 261, 279
Bell, Alexander Graham, 30
Bellamy, Edward, 13
Benjamin, Walter, 14
Berg, Paul, 32, 36
Berio, Luciano, 241, 259
Berliner, Emile, 14–15
Beverly Hills Cop, 161
Bhakti, 266
Bicrophonic Research Institute, 233
Bischoff, John, 91
Blechdom, Kevin, 181–183
Blectum from Blechdom, 181
Borrowing and Stealing, 151
boss, 151
BoSSa, 97
Boulez, Pierre, 111–112, 221, 259
Bowers, John, 250–251
brain
and audiovisual music, 135
synaesthesia, 134
brain research, response to music, 85
Brand, Jens, 53
Breadboard Band, 252
broadcasting,see also network music
radio art, 42, 141, 211, 235, 249
transmission art, 138–140, 235–237
TV music, 161–164
Bryars, Gavin, 47
Bubblyfish, 165, 173–174
Buffet, Gabrielle, 16
Burkina Electric, 175–176
Burt, Warren, 83–84
Burtt, Ben, 157, 160–161
Busoni, Ferruccio, 16
Byron, Ada.see Lovelace, Ada King, Countess of
Cadoz, Claude, 197
Cage, John, 41–43
‘Credo’ lecture, 19–20, 42, 156
use of algorithms, 116–118
influence, 43–44
live electronic music, 37, 41–43, 202, 211, 259
objects music, 242
and sound art, 227
works, 37, 42–43, 109, 117, 158, 211, 227, 241, 259, 268–269
Cahill, Thaddeus, 14, 16, 40
Calix, Mira, 81
canons, 106
car horn organ, 229
Cardiff, Janet, 232–233, 235
CARL System, 63–64
Caro, Marc, 163
Carter, Chris, 294–295
Cartridge Music, 42–43
Castel, Louis Bertrand, 124–125
casual listening, 204
causation in networked music, 148, 149–150
CD manipulation, 52
Cello With Melody Driven Electronics, 44
Center for Music and Sonic Art (Mexico), 30
Chadabe, Joel, 89–90, 92
Chafe, Chris, 152, 196
chess competitions, and AI, 11
Chion, Michel, 156, 204
chiptone (8-bit) music, 81, 173–174, 248
Chorosynth, 240
Chowning, John, 36, 62, 187
Chris & Cosey, 294–295
ChucK, 72, 144
cinema,see film music; live cinema
circuit bending, 53–54
circuit design
early analogue circuits, 44, 48, 88
integrated circuits, 48–49, 247
in live performance, 44, 47–50, 251–252
Clarke, Vince, 295–296
classical music, effect of technology, 18, 77, 84, 269–270
classicism, in music, 179–180
classification of repertoire, 276
claveçin électrique, 10
CLM (Common Lisp Music), 65
club VJs,see VJing
Cmix, 64–65
Co-Audicle, 150
cognitive-affective analysis, 287
Collins, Nicolas, 51, 98, 242, 247, 249–250
colour organs, 124–126
Columbia Computer Music Center, 35
Columbia-Princeton Electronic Music Center, 35
Come Out, 46, 207
commercials, music for, 162, 163
compact disc manipulation, 52
Composers Inside Electronics, 48
composition
aesthetic differences, 27–28
effect of home studios, 28, 29, 121
impact of technology, 29, 31–33, 50–51, 77, 275–276, 295–296
computer as musical instrument, 89–91, 101, see also digital instruments; laptop music performance; live computer music
Computer Audio Research Laboratory, CARL system, 63–64
Computer Suite from Little Boy, 187, 279
computermusik I - exploded view, 244
conceptualist art, 145
Concret PH, 218
Confield, 67
constructivist art, 145
contemporary audiovisual performance, 130–133
control rate in sound synthesis, 65
controllers (live computer music), 93–97, 99–100
conversational art, 146
Cook, Perry, 150
Cordis-Anima software, 197
Cornford, Stephen, 244
Corra, Bruno, 125
Cosey Fanni Tutti, 294–295
Cracklebox, 49–50, 247
Craighead, Alison, 150–151
crossmodal information transfer, 134
crossmodal performance,see live audiovisuals
Crystal Age, A, 13
Csound, 65, 66
custom music programming software, 72–73, 75–76, 80
Cyber-Jam, 178–179
cybernetic aesthetics, 145, 146
Cybersonic approach, 88
CyberSpaceLand, 133
Cybork, 178–179
Cylob Music System, 80
Dada movement, 17, 18
Dancers on a Plane, 267–268
Darmstadt serialism, 110–111
Darmstadt summer course, influence, 109–112
data gloves, 95–96
Datatron computer songs, 60–61
Davies, Hugh, 244
Day the Earth Stood Still, The, 154, 158, 159
Dazzleships, 81
de Caus, Salomon, 8
De Magnete, Magneticisque Corporibus, et de Magno Magnete Tellure, 8–9
De Marinis, Paul, 49, 140
Death of Klinghoffer, The, 268–269
Deep Blue (computer), 11
Deep Listening music project, 46, 205
Delaborde, Jean Baptiste, 10
Delicatessen, 163
Denshi Burokku EX, 240–241
Der Blaue Reiter group, 16–17
Déserts, 22, 259
Désintégrations, 265
Dewey, John, 225–226, 228, 230–231, 232, 236–237
Dhomont, Francis, 179–180
Diderot, Denis, 89
Die Maschine, 107–108
diegetic music, 157, 158, 164–165
Difference Engine, 12, 59
digital instruments, 61–62, 87, 120, see also acoustic instruments with electronics; computer as musical instrument; laptop music performance; live computer music
digital-to-analogue converters, 61, 93–94
digital video technology, 129
digital waveguide synthesis, 195, 196
Dirty Electronics, 245, 247
Discreet Music, 250
disembodied electronic film sound, 159–161
distortion,see also feedback sound
in DIY music, 249
distributed objects, 151, 151f. 8.6
DIY music
8-bit music, 174
development, 238–242, 255, 294–295
lo-fi, 165, 246, 255
music characteristics, 239
music scores, 249–252
objects music, 242–245
publications, 240–241
record company, 293
reductionist approach, 252
software, 72–73, 75–76, 80
sound materials, 246–249
dodecaphonic technique, in serialism, 110–111
Dodge, Charles, 193
Dorkbot movement, 55
Doruff, S., 150
drawn sound, 159
Dream Logic, 271
Duddell, William, 15
DX7, 30, 187
Dynamophone (Telharmonium), 14, 29, 40
Ear Phonautograph, 30
Earthvoice, 252, 254f. 13.4
Edison, Thomas, 14–15
education for composers, 85
Eikasia, 196–197
EIS (Expanded Instrument System), 79, 261–262
El-Dabh, Halim, 26–27
Electrical Walks, 234–235, 284–285
electroacoustic music,see also acousmatic music; Cage, John; Schaeffer, Pierre; Stockhausen, Karl; Tape Music; Varèse, Edgard
circuit bending, 53–54
and classical music, 172–173, 179–180
elektronische musik, 27, 35, 202
musique concrète, 27, 141, 155, 157, 202, 203–205
use of noise, 209–211
and popular music, 201–202, 208
Projekt 1 (PR1), 112, 115–116
Quatre Ecoutes (modes), 203–204
soundscapes, 163, 174–175, 218–219
spatial aspects, 211–215
streaming effects, 207–208
Electro-Acoustic Music Ensemble, 270
electromagnetism in music, 170, 284–285, see also Theremin
electromyograph instrument, 98
electronic music
description, 19, 293
future development, 71–74, 97–98, 167–168, 183, 198–199, 272
electronic music analysis
cognitive-affective approach, 287
instrument factor, 290
macro timescales and structures, 216, 277, 279, 284, 287–289
meso timescales, 216, 277, 284
micro timescales, 215–216, 277, 279, 284
MPEG Standard, 286–287
spectral analysis techniques, 199, 286
spectromorphology, 205–206, 278
supra timescales, 277, 8, 284
effect of technology, 275–276
timbre, 85, 266–267, 277–278, 279–280, 281–283
electronic music origins
and art, 16–18
automata, 10–11
classical ideas, 7–10
development, 14–16, 19–22, 294–295
in literature, 10, 11–14
elektronische musik, 27, 35, 202
elements of music, 277–278, see also pitch; timbre
Eleventh Hour, The, 270
eMic controller, 171
encoding of sound, 139–140
Eno, Brian, 118, 250
environmental sound,see natural sounds; soundscapes
equal temperament, 9, 16
Erickson, Kristin,see Blechdom, Kevin
Erik M, 52
Ertel, Murat, 177
Etude aux Chemins de Fer (Schaeffer), 26, 207
exciter-resonator approach, 195–196, 195f. 10.3
Expanded Instrument System (EIS), 79, 261–262
expérience acoustique, L’, 208
Explorations Invisibilis, 214
expressiveness, 102
extended controllers, 94
Extended Microphone Interface Controller (eMic), 171
extended networks, 147
extreme noise, 209–211
Faltermeyer, Harold, 161
‘Farben’ (Schoenberg), 15–16
Farkas, Dan, 53
feedback sound, in compositions, 43, 44–45, 247, 292
Ferrari, Luc, 141, 207, 8, 219
Ferreyra, Beatriz, 210, 297–298
Feu, 210
field composition, 114–116
field recordings, 141, 163, 218, 267–268, 296–297
Field, Ambrose, 210
film music
and aestheticism, 163
use of electronic instruments, 157–161
incidental music, 157–160
sci-fi films, 158–161
use of sound processing, 270
soundtracks, 159–161
use of Theremin, 154, 157–158
Finer, Jem, 236
Firebirds, 140
Fischinger, Oskar, 126, 158
Fleumer, Fritz, 15
~Flow, 229–231
fluxus, 130
FM synthesis, 187
FOF (Fonction d’onde formantique), 189–190
Fontana Mix, 117–118
Fontana, Bill, 214–215
Forbidden Planet, 158–159, 163
formalist art, 145
Formant Synthesiser, 240
formant wave function, 189–190
FORTRAN programming language, 63, 113–114
Forty Part Motet, 232
found sound, 243, 256, 268, 269
Fourier theorem, 186, 191
Frankenstein, 12–13
Free Music (Grainger), 20–21
Freeman, J., 150
frequency domain visualization, 279–280, 281f. 15.3, 282f. 15.4
frequency modulation, 187
funding, electronic music, 30
Fünf Orchesterstücke (Schoenberg), 15–16
‘furniture music’ (Satie), 118
‘Future of Music: Credo’, The, 19–20, 42, 156
Futurism, 17, 18
‘Gambara’ (Balzac), 12
Garden of the Dragon, 197
Garton, Brad, 35
GENDYN, 216
generative music, 118–119, 166, 167, see also algorithmic composition
Gerhard, Roberto, 259
gestural controllers, 93–97
Ghazala, Reed, 53, 242, 243
ghost electronic scores, 262–263
Gieskes, Gijs, 252
Gilbert, William, 8–9
Gilje, H.C., 131–132
global movements, 26, 30, 32, 172
Global String, 55
Gmachl, Mathias, 78
Goethe, Johann Wolfgang von, 105
Goldberg Variations, 106
Golden Section, compositions using, 286
Gorne, Annette Vanda, 210
Gould, Glenn, 37
gradual intonation, 16, 20
Grainger, Percy, 20–21, 21f. 1.2, 59
gramophone,see also record players
gramophone, invention, 15
granular synthesis, 189–190
graphic tablets, 96
graphical music programs, 66–68, 68f. 4.1, 70–71
Gray, Elisha, 14
GREIS, 261–262
Griffiths, Dave, 130
Grisey, Gérard, 191
GROOVE, 88–89, 129, 261
group improvisation, live visual music, 127–128
Gruppen, 114
GSX/GSAMX systems, 217
Guðnadóttir, Hildur, 270
Guhl, Andy, 49
guided walks, audification, 284
hacking of objects, 241, 243
Hajdu, G., 150
Hammond electric organ, 41, 87
Hand that Feeds, The, 37
‘Hands’ instrument, 97–98, 98f. 5.1
Harrison, Jonty, 213–214, 215
Harsdörffer, Georg Philipp, 107
Harvey, Jonathan, 191–192, 221–222, 265–267, 279
Hasnizam Abdul Wahid, 296–297
Hauer, Matthias, 107
Hausswolff, Carl Michael von, 141
Hautamäki, Jukka, 245, 246f. 13.1
Heavenly Menagerie, 158
Helmuth, Mara, 287
Helvacioglu, Erdem, 78–79
Hemmer, Rafael Lozano, 233
Henry, Pierre, 219
Herndon, Holly, 295
Hewitt, Donna, 171
Hidden Sine, 245
Hierarchical Music Scoring Language (HMSL), 71–72
Hiller, Lejaren A., 37, 108–109, 117, 275
Hinterding, Joyce, 236
Hitchcock, Alfred, 157
Hoffmann, E.T.A, 11–12
home studios
availability to amateurs, 36–37
custom software, 72–73, 75–76, 80
development, 29, 30, 33–35, 129
effect on composition, 28, 29, 121
microcomputer networks, 90, 146–147
home, as interactive listening space, 36–37
Horio, Kanta, 244
Hornpipe (Mumma), 44, 88
Howse, Martin, 253–254, 254f. 13.4
HPSCHD (Cage and Hiller), 37, 109, 117
Hub, The, 148–149, 149f. 8.4, 151
Hudson, W.H., 13
Humbucket, 53
Hütter, Ralf, 296
hybrid networks, 147
hyperbolic paraboloids in composition, 113
hyper-instruments, 263
Hz – limits of the technology, 210
I am sitting in a room, 45, 214, 287–290, 289f. 15.6
I Ching program, 117
I of IV, 46
IBM 704 computer, 84, 193
Idioteque, 187, 283–284, 283f. 15.5
Idle Chatter, 193, 209
Ikue Mori, 293–294
Illiac Suite, 109, 275
Imaginary Landscape No.1, 41–42, 259
Imaginary Landscape No.4, 42, 211
imaginary listening, 157
Impressions d’Afrique (Roussel), 17
Impromptu (Sorenson), 130
improvisation.see also live electronic music
acoustic electronics, 270–271
controller features, 99
DIY music, 250, 251–252
live visual music, 127–128
network music, 148, 151
Cyber Jam, 178–179
George Lewis, 183–184
Ikue Mori, 293–294
John Cage, 42
Pauline Oliveros, 79
In Sara, Mencken, Christ and Beethoven There Were Men And Women, 45
incidental music for film, 157–160
indicative fields, 206
information aesthetics, 145
instantaneous music composition performance machines, 88
Institute of Sonology, 33–34, 119–120
instruments,see also acoustic instruments with electronics; computer as musical instrument; digital instruments; laptop music performance; live computer music
digital vs traditional properties, 87
integral serialism, 145
integrated circuits, 48–49, 247
integrated computer music systems, 62
interactive composing,see also improvisation; laptop music performance; live audiovisuals; live computer music; live electronic music
digital development, 261–264
introduction of term, 89–90
live cinema, 167
live coding, 71–72, 151–152
music performance, 92, 198
music software, 75–76, 89, 90, 101
interactive programming, 71–72, 151–152
interactivity in music, 86, 87–88, see also interactive composing; live computer music
interference, in DIY music, 249
interludes, in video games, 165
internet, 31, 55–56, 119, 121, 142, see also network music; virtual studio communities
internet communities, 36, 174, 238, 242
internet networks, 121, 142
inter-temporality, 277
intonarumori, 17–18, 19f. 1.1, 210
intra-temporality, 277, 289
Io, 267
iOS devices in composition, 264
IRCAM, 188, 189–190, 191–192, 264–265, see also Harvey, Jonathan
Irrgärten, 264
Isaacson, Leonard, 275
it pays my way and it corrodes my soul, 244
Izarra, Adina, 178
Jeffs, Chris, 80
Jekyll and Hyde, 157
JITLib, 150
John’s Book of Alleged Dances, 268
Jones, Ralph, 49
joysticks (controllers), 95
JSyn, 68, 144
Jupiter (Manoury), 67
Justel, Elsa, 297
Kagel, Maurico, 241
Kandinsky, Wassily, 16–17
Kangaroo Pouch Machine, 20
Kanta Horio, 170–171
Karplus-Strong algorithm, 194, 195, 195f. 10.2
Keep, Andy, 249
Kemp, Jonathan, 253
Kempelen, Baron Wolfgang van, 11
Key to Songs, The, 262–263
KeyWorks, 150
Killing Machine, The, 232–233
Kit Beach Soundwalk, 285
Klang, 213–214, 260
Klangreihen algorithm, 107
KOAN, generative music program, 118
Koch, Hans, 244, 250
Koenig, Michael, 112, 115–116, 119–120
Kojs, Juraj, 197
Kontakte, 207, 211–212, 259
Korea, home studios, 34
kotatsutop music, 25
Kraanerg, 259–260
Kubisch, Christina, 176–177, 234–235, 284–285
Kuoppala, Visa, 250, 251f. 13.2
Kwaito, 27–28
L’homme machine, 10
La Mettrie, Julien de, 10
LaBelle, Brendon, 225
Lady’s Gloves, 51, 98
Lancaster, Donald, 241
Lansky, Paul, 187, 193, 209, 280–284, 280f. 15.1, 281f. 15.2, 281f. 15.3, 282f. 15.4, 283f. 15.5
laptop music performance
and aestheticism, 178
compositional style, 101, 178
laptop orchestras, 178–179
live performance, 181, 293–294, 295
software, 130
laptops, impact on composition, 30, 101
Lara Croft (Tomb Raider), 165, 166, 168
League of Automatic Composers, 90, 147
Lewis, George, 90, 183–184
Lexikon-Sonate, 120
Leyfðu Ljósinu, 270
‘Liberation of Sound’ (Varèse), 22
Ligeti, Lukas, 175–176
light shows, 127–129
linear polyphony, 112
linear predictive coding, 193
linguistic synaesthesia, 134
LISTEN technology, 120–121
listening modes, 203–205
literature, ideas on technological music, 10, 11–14
live audiovisuals
analogue synthesisers, 129
analysis of field, 134–135
colour organs, 124–126
contemporary performance, 130–133
cross-modal perception and synaesthesia, 133–134
digital technology, 129–130, 136
light shows, 127–129
multiple modalities, 136
overview, 123–124
visual music, 126–127
live cinema, 124, 128, 131–133, 135, 167
live coding, 71–72, 151–152
live computer music,see also improvisation; laptop music performance; live audiovisuals; live electronic music
computer as instrument, 86–87, 89–91
controllers, 93–97, 98–100, 101–102
development, 89
future of digital music, 97–98
impact of MIDI, 91
interfaces, 98–100
potential for composers, 91–93
virtuosity, 100–102
live electronic music,see also acoustic instruments with electronics; feedback sound; improvisation; live audiovisuals; live computer music; realtime generation
and aestheticism, 178, 262–267, 270, 271–272
African music, 176
analogue performance, 53, 54f. 3.1, 88–89
CD manipulation, 52
circuit bending, 54
digital developments, 37, 50–51
DIY music, 239, 245
early development, 37, 40–41
John Cage, 37, 41–43, 202, 211, 259
laptop music, 181, 293–294, 295
live coding, 71–72, 151–152
live sampling, 270, 271
recent trends, 54–56
Sonic Arts Union, 43–45
tape delay systems, 45–47, 79, 261
turntable techniques, 51–52
using circuit design, 44, 47–50, 251–252
vocal manipulation, 171
live sampling, 270, 271
Lodge, Sir Oliver, 15
lo-fi music, 165, 246, 255
Long Throw, 181
Longplayer, 236
Looking Backward, 13
Loud Objects, 251–252
loudspeaker orchestras, 212
loudspeakers
invention, 15
in performance, 211–212, 221, 233
Lovelace, Ada King, Countess of (Ada Byron), 12, 29–33, 59, 74
LoVid, 55
Lowlands, 231
LPC (linear predictive coding), 193
Lucier, Alvin, 45, 214, 289–290, 289f. 15.6
Lull, Ramon, 107
Lumigraph, 126
M.T.Brain, 182–183
machine musicianship, 90
Machover, Tod, 263
macro formal structure, 279, 284, 287–289
macro timescales, 216, 277
Maelzel Metronome, 11
Maetzig, Kurt, 159–160
magnetic tape recording, invention, 15
Mair, Kathleen, 285
maker communities,see DIY music
Mamoulian, Rouben, 157
Man a Machine, 10
Manoury, Philippe, 67
Mansell, Clint, 161
Mantra, 260
Marclay, Christian, 52
Marinetti, F.T., 17
Markowski, Andrezeij, 159–160, 163
Martenot, Maurice, 18
Martirano, Salvatore, 90
Martusciello, Elio, 210
mass-spring models, 197
mathematical communication theory, 146f. 8.3
Mathews, Kaffe, 233
Mathews, Max, 35, 61, 62, 84–85, 88–89, 95, 185
Max, 120, 144
Max for Live, 67
Max/MSP, 66–68, 91
May, Derrick, 170
McIntyre, Michael, 194
meantone, 9
mechanical music,see automata
medium, and mediated, 141
meso timescales, 216, 277, 284
Metastasis, 113
Mexico, facilities for music, 30, 31, 80–81
micro timescales, 215–216, 277, 279, 284
microcomputers, 50, see also home studios
impact of development, 29, 90, 91, 188–189
in DIY music, 247–248
in network music, 90, 146–147
impactof laptops, 30, 101, 178
microphones
invention, 14
use in composition, 220
microprocessors, use in platform, 248
microsound, 215–218
microtonal music, 84
MIDI
use in computer games, 164, 166
use in film scores, 161
impact on computer music, 91, 94, 95, 96
plunderphonics, 150–151
use for TV commercials, 162–163
Mikrophonie I, 220, 260
mild and leise (Lansky), 187, 280–284, 280f. 15.1, 281f. 15.2, 281f. 15.3, 282f. 15.4, 283f. 15.5
Miller, Daniel, 292–293
Miller, George Bures, 232–233
Mims, Forest, 241, 247
MINC scoring language, 65
Mini-Fan Music, 53
Mixtur, 260
MM markings, 11
modal synthesis, 196–197
Modalys, 196–197
MODs, 165
modular analogue studios, 119–120
Monahan, Gordon, 53, 54f. 3.1
Moog synthesiser, 45, 88, 89
Mori, Ikue, 293–294
Mortuos Plango, Vivos Voco, 191–192, 222, 279
Moscow Laptop Cyber Orchestra, 178–179
Möslang, Norbert, 49
Motion Painting, 126
moving images,see also abstract filmmaking; film music; live cinema
future trends, 167–168
TV music, 161–164
video game music, 164–167, 173–174
Mozart, Wolfgang Amadeus, 106
MPEG Standard analysis, 286–287
multi-channel composition, 175, 212–213, 275
Multimedia Content Description Interface, 286–287
multimodal art,see live audiovisual performance
multi-track recording, 87–88
Mumma, Gordon, 44, 88
Murail, Tristan, 265
music controllers,see controllers
Music for Airports, 118
Music for String Quartet and Tape, 78–79
Music for..., 117
MUSIC I, 61
MUSIC IV, 62, 186
Music Mouse software, 75–76, 89
music studios,see also home studios
development, 26–27, 30, 33–35
role, 35, 37–38
standardisation, 28, 29
studios in organisations, 33–34, 35, 81
Music Technology Group, Pompeu Fabra University, 192–193
Music Theater Brain, 182–183
MUSIC V, 63, 67, 186–187, 189
music video, 129–130
musical dice games, 106
Musical Telegraph, 14
MUSIC-N, 61–63
MUSICOMP, 109
Musikalisches Würfelspiel, 106
musique concrète
compared to elektronische musik, 27, 202
syntax, 203–205
treatment of sound, 141, 203
Mute Records, 292–293
My Laptop Colony - Colony In My Laptop, 249
Myst, 165
N.A.G., 150
Nancarrow, Conlon, 59
natural sounds
field recordings, 141, 163, 218, 267–268, 296–297
as inspiration, 293–294
installations, 176–177, 214–215
from nature, 218, 269, 296–297
non-audio models, 217–218
Nekyia, 188
Network Harp, 152
network latency, 152
network music,see also broadcasting; sonic art; sound installations
and aestheticism, 148
and algorithmic composition, 144, 145
definition, 138
environments, 147, 275
formalism and information, 144–145
microcomputer networks, 90, 146–147
opacity and transparency, 140–142
protocols and relations, 142–144
role interchange, 145–147
sound transmission, 138–140
states, 148–152
topology, 147–148
networks (indicative fields), 206
Neuhaus, Max, 150
New Atlantis, The, 7–8
New Musical Interfaces for Musical Expression (NIME), 95
Newby, Christine,see Cosey Fanni Tutti
NICE, 95
Nicolai, Carsten, 82–83
Nine Inch Nails, 37
Nippon Houso Kyokai (NHK), 28
noise, in composition, 19–20, 209–211
noise circuits, 247
noisemakers, sculpture as, 229–231
non-diegetic music (incidental film music), 157–160
Nono, Luigi, 259, 260–261
Noto, 82, see also Alva Noto
Nyquist, 65
object-oriented programming, 80, see also programming languages
objects music, 242–245
Ohm-My-God, 250–251
Oliveros, Pauline, 29, 32, 36, 46, 79, 205
On the Oscillation of Musical Instruments, 194
on-the-fly programming (live coding), 157–160
Ondes Martenot, 18, 41, 97
One Hell of a Place to Lose a Cow, 210
open source software, 63–64
Opera for a Small Room, 232
Operations of Spirit Communication, 141
orchestras, in digital programs, 61–62
Orchidée software, 264–265, 266
organised sound, 20, 163
Organum, 106
Oswald, John, 77–78
Oulipo, 107
Ovalprocess, 37
Owl project, 229–231, 230f. 12.1
Oxygen flute, 196
panharmonicon, 11, 12
Parade (Satie), 18
Parker, Evan, 270
Parker, Lorin Edwin, 55
participatory art, 146
Particle, 170
Partiels, 191
patches (digital instruments), 61, 67, 68f. 4.1
Pd, 66, 68, 91
Pea Soup, 249–250
PeerSynth, 150
Perec, Georges, 107–108
performance space in composition, 214–215
Perich, Tristan, 248
Perkis, Tim, 91
Philipsz, Susan, 228, 231–232
phonautograph, 14
phonograph, 14–15
phonography,see also acoustic ecology; natural sounds
defined, 54
intonarumori, 17–18, 19f. 1.1
physical model synthesis, 190, 193–198, 199
π (pi) (film), 161
Piano Phase, 47
piano rolls, 59
pico...Tera, 197
piece for one, two and three Sudophones, A, 250, 251f. 13.2
Ping, 196
Pini di Roma (Pines of Rome), 15, 259
pitch
in electronic music, 92
equal temperament, 9, 16
gradual intonation, 16, 20
microtonal music, 84
as subjective response, 277
Pithoprakta, 113
player-piano, as programmable instrument, 59
plunderphonics, 150–151
pneumaphones, 229
PODX system, 189
Poème électronique (Varèse ), 22, 23f. 1.3, 211
Point Line Cloud, 189, 217
politics, and network art, 140
Pompeu Fabra University, Music Technology Group, 192–193
Pong video game, 164
Popp, Markus, 37
popular music video, 129–130
postal metaphor, 148, 152
potentiomètre d’espace, 211
Poulson, Valdemar, 14
powerbooks unplugged, 152
PR1 (Projekt 1), 112, 115–116
Presque rien No.1, 219
Presque rien No.2, 218
Pressing, Jeff, 92
probabilistic logic, 113–114, see also statistical methods; stochastic music
Process and Passion, 260
process music, 287–288
programming,see also PR1; programming languages; serialism; stochastic music
description, 58–59
pre-computer, 59–60
programming libraries, 68–69
programming languages
description, 58–59
early computer languages, 60–66
development, 66–73
future development, 71–74
and algorithmic composition, 121
custom software, 72–73, 75–76, 80
CARL System, 63–64
ChucK, 72
Cmix, CLM and CSound, 64–66
Hierarchical Music Scoring Language (HMSL), 71–72
JSyn, 68
Max/MSP, 66–68, 91, 120
MUSIC-N, 61–63
SuperCollider, 69–70, 70f. 4.2, 91
Synthesis Toolkit (STK), 68, 69
programming libraries, 68–69
Projekt 1 (PR1), 112, 115–116
Prokofiev, Gabriel, 269
Prometeo, Tragedia dell’ascolto, 261
Prometheus: The Poem of Fire (Skryabin), 17, 125
protocols for transmission, 142–143, 144
Prototype, 216–217
psychedelic light shows, 127, 128–129
public music studios, 33–5, see also music studios
Pure Data (Pd), 66, 68, 91, 144
quality of music, effect of technology, 77, 80
Quatre Ecoutes (modes), 203–204
Queen of the Night synthesis, 190
Quintet.net, 150
Radigue, Éliane, 292
Radio 1, 252–253
radio art, 42, 141, 211, 235, 249
Radio Astronomy, 142
Radio Baton, 95
Radio Dynamics, 126
Radiohead, 67, 187, 283–284, 283f. 15.5
radios, as instruments, 42
Rainforest, 48, 141, 244
Raumfaltung, 120–121
reactable interface, 100
realtime generation,see also live electronic music
algorithmic music, 119–121
video/visual performance, 123
realtime programming, 66–73
Recantata, 182
record players
as instruments, 42–43
invention of gramophone, 15
recording companies, 292–293
redbook audio, 164–165
reduced listening, 204
reductionist approach, 252
reggae sound systems, 36
Reich, Steve, 46–47, 207, 267, 268
Relational Aesthetics theory, 225
Répons, 221
Reservoir Dogs, 233
Respighi, Ottorino, 15, 259
Respire, 235
Reynolds, Roger, 259, 260
Riedl, Waldo, 53
Riley, Terry, 46
Rimington, Alexander Wallace, 125
Risset, Jean-Claude, 186–187, 220, 279
Riverrun, 217
Roads, Curtis, 189, 209–210, 216–217
Rodet, Xavier, 36, 189–190
Rohrhuber, Julian, 150
Rose, Jon, 51
Roussel, Raymond, 17
RTC-lib, 120
RTCmix, 65
Rumentarium, 244
Russolo, Luigi, 17–18, 19f. 1.1
Ryan, Joel, 96
Saariaho, Kaija, 267
Sakamoto, Ryuichi, 269
Sakr, Laila Shereen, 133
Salinity Sampler Sequencer, 229–230, 230f. 12.1
SalMar Construction, 90
sampling,see also tape loops; turntable techniques
in acoustic electronics, 267–269
Aftershock, 285
using analogue synthesisers, 295
Blectum from Blechdom, 181
John Adams, 268–269
Kwaito, 27–28
Sonic Bike, 233
sampling theorem (music), 85
Samson Box, 188
Sand, 37
Satellite Jockey, 133
Satie, Erik, 18, 118
Saunderson, Kevin, 170
Schaeffer, Pierre
influence, 297
musique concrète syntax, 27, 155, 203–204
potentiomètre d’espace, 211
works, 26, 207, 219
schematic scores, 117–118, 249–250
Schillinger, Joseph, 108
Schillinger System of Musical Composition, 108
Schoenberg, Arnold, 15–16
serialism, 110–111
Schubert, Alexander, 263
Schumacher, Robert, 194
sci-fi films, 158–161
Scott, Leon, 14
Scott, Raymond, 88, 161–162, 163–164
Scriabin,see Skryabin, Alexander
Sculpture with Resonators, 214–215
self-regulating feedback networks, 148
semantic listening, 204
Sequenzas, 241
Serafin, Stefania, 197, 214
serialism, 110–111, 114, 145, see also field composition
Serra, Xavier, 192–193
Shannon, C.E., 146f. 8.3
shared objects, in network music, 149–151, 150f. 8.5
sharing culture, 31, 178
Shepard tones, 187, 279
Shin, Seong-Ah, 81–82
Sho-Zyg, 244
Siemens, Ernst Werner von, 15
Sigal, Rodrigo, 80–81
silence, in composition, 176
Silent Star, 159–160, 163
Silicon Spirits, 250
Silva, Rick, 133
sine wave processing
additive synthesis, 186
analogue recording, 216
CARL, 63–64
FM synthesis, 187
sines plus noise technique, 192–193
sound quality, 82, 246
spectral processing, 192–193, 192f. 10.1
Ugens, 61
sines plus noise technique, 192–193
Singing Arc, 15
Single Wing Turquoise Bird, 127–128
Sirius, 260
Skryabin, Alexander, 17, 125
slub, 73, 73f. 4.4
Smalley, Denis, 204, 205–206
social media, use in VJing, 133
software,see also open source software; programming languages
and aestheticism, 76
Solaris, 159–160
solfège, music concrète, 203–205
Solo, 89–90
solovoxes, 20
Sonami, Laetitia, 51, 98
Sonatas and Interludes (Cage), 241
Sonic Arts Union, 43–45
Sonic Bike, 233
sonification, 285
Sorenson, Andrew, 130
sound art, 55, see also network music; Sonic Arts Union; sound installations
and aestheticism, 220–222, 225–226, 228, 230–231, 236–237
algorithmic composition, 236–237
in art world, 227–228
definitions, 226–227
development, 227–228
exhibitions, 227–228
sculptures, 229–231
sound walks, 234–235
transmission art, 140–142, 235–237
sound design, 155–157, 159–161, 163
sound diffusion, 215
sound effects, 154, 157–158, 159–160
sound files, visualization, 279–283, 280f. 15.1, 281f. 15.2, 281f. 15.3, 282f. 15.4, 283f. 15.5
sound-houses, 7, 8
sound installations, 231–233, see also sound art
Electrical Walks, 234–235, 284
Firebirds, 140
music promenade, 141
Operations of Spirit Communication, 141
Ping, 196
Poème électronique, 22, 23f. 1.3
Rainforest, 48, 141
Raumfaltung, 120–121
silence and natural sounds, 176–177, 214–215
syn chron, 83
Wounded Man’yo-shu, 76–77
sound modelling, 190–198, 199
sound objects, 278–279
sound poetry, 17
sound recording.see also MIDI; sound art; sound installations; Tape Music
early developments, 14–16
field recordings, 141, 163, 218, 267–268, 296–297
impact on music, 77, 87–88, 202
sine wave recording, 216
tape delay systems, 45–47, 79, 248, 250, 261
tape loops, 118
wire recording, 26–27
Sound Shadows, 261–262
sound synthesis,see also programming languages
definition, 185
early development, 90, 185–189
current and future developments, 198–199
granular sound manipulation, 189–190
physical modelling, 190, 193–198, 199
sound modelling, 190–191
spectral modelling, 190, 191–193, 192f. 10.1, 199
sound synthesis programming languages,see programming languages
sound transfer, 138–140
sound/vision relationship, 135
sound walks, 219, 234–235, 285
soundscapes, 163, 174–175, 218–219, 285
soundtracks, 159–161
Space Invaders, 165
Space Violin, 51
spatial acoustic cues, 213
Speaker Swinging, 53, 54f. 3.1
Speakings, 266
spectral analysis techniques, 199, 286
spectral models, 190, 191–193, 192f. 10.1, 199
spectral music, 191–192, 221–222, 279
spectral processing, 264–267
spectrograms, 278, 279–280, 281–283, 282f. 15.4, 286, 289–290, 289f. 15.6
spectromorphology, 205–207, 278
Sphere Packings, 233
Spiegel, Laurie, 75–76, 89, 93, 129
Spontaneous Phenomenon, 244
square wave circuits, 247
Stalker, 163
Stanford University, 34, 36, 65, 187, 188
Star Networks, 49
Star Wars, 157, 160–161
states, 148–152
statistical methods, 109, 112–113
steam-powered synthesiser, 55
STEIM, 51, 96
Stelkens, 150
Stepped Tone Generator, 241
Still Air, 264
STK (Synthesis Toolkit), 68–69
stochastic music, 112–114, see also Xenakis, Iannis
Stockhausen, Karlheinz, 183
acoustic electronics, 260
Kontakte, 207, 211–212, 259
microphone use, 220
parameter formulation, 114
studio influence, 28
streaming effects, 207–208
Streichquartett, 114–115
Structure 1a, 111–112
studio communities, 35–36
Study for Strings (Philipsz), 231–232
Study in White, 286
ST-xxx, 113
Subotnick, Morton, 262–263
subtractive synthesis, 285
SuperCollider, 69–70, 70f. 4.2, 144
supra timescales, 277, 278, 284
Symphonie pour un homme seul, 219
syn chron, 83
synaesthesia, 134
synaesthetic art, 134–135
synchresis, 156
Synclavier, 188
Synthesis Toolkit (STK), 68–69
synthesisers, 30, see also analogue synthesisers; programming languages
as composition tool, 295–296
and circuit bending, 54
digital synthesisers, 30, 54, 187, 188, 240
video synthesisers, 129
virtual synthesisers, 92–93
t_ng noise generator, 247
tabletop music, 245, 250
Tanaka, Atau, 55, 93, 98
Tangible User Interfaces (TUIs), 99–100
tape delay systems, 45–47, 79, 248, 250, 261
tape loops, for generative music, 118
Tape Music, 41, 45–7, 207, 211, see also musique concrète
1, 2, 1-2-3-4, 47
with acoustic instruments, 260, 261
I am sitting in a room, 45, 214, 287–290, 289f. 15.6
invention of magnetic tape recording, 15
Kontakte, 207, 211–212, 259
Kraanerg, 259–260
re-injection process, 292
repetition, 207
tape delay systems, 45–47, 79, 248, 250, 261
tape loops, 118, 207
Violin Phase, 47
Tarkovsky, Andrei, 160–161, 163
Taube, Heinrich, 275
Techno, 170
technology,see also DIY music; home studios; laptop music performance; live audiovisuals; live computer music; live electronic music; sound synthesis; synthesisers
and aesthetics, 27–29, 32, 76, 201, 298
and electronic music analysis, 275–276
impact on composition, 29, 31–33, 50–51, 77, 275–276, 295–296
impact on music, 25, 29, 77, 85, 87–88, 275–276
obsolescence, 258
Teitelbaum, Richard, 141
telecommunication art, 145
telefunken 2000, 82
telegraph-based music, 14
Telegraphone, 14
television, electronic music, 161–164
Telharmonium, 14, 29, 40
Tel-musici Company, 139, 139f. 8.1
Termen, Prof. Lev (Leon Theremin), 18, 40
text-based programs, 64–66, 68–71, 70f. 4.2
text-sound composition, 208–209
Theremin, 40–41
as traditional instrument, 42, 94, 168
invention, 18, 94
solovoxes, 20
use in film music, 154, 157–158
Theresienstadt, 231–232
Thomson, Jon, 150–151
timbre, 85, 186, 266–267, 277–278, 279–280, 281–283
time-domain visualization, 279
Tobenfeld, Emile, 99
Toeplitz, Kaspar, 55
Tomb Raider (Lara Croft), 165, 166, 168
Tone, Yasunao, 76–77
Tönende Ornamente, 126
TOPLAP, 73
topology (location) in networked music, 147–148
Touch, 262
transall series, 83
transformations, in serialism, 110–111
transmission art, 140–142, 235–237, see also radio art
protocols for transmission, 142–143, 144
transposition, in serialism, 110–112
Trautonium, 18, 41
Trautwein, Friedrich, Trautonium, 18
Tristan and Isolde, 280
trombone-propelled electronic device, 51, 98
Truax, Barry, 28, 174–175, 189, 217, 219
Trueman, Dan, 96–97
Tudor, David, 47–48, 141, 244, 249
TUIs (Tangible User Interfaces), 99–100
tuning systems, 9–10
Turenas, 187
Turing Machines, influence of idea, 145
Turk, The, 11
Turner prize, 228, 231
turntable techniques, 51–52, 97, 269
Tutschku, Hans, 196–197, 264
Two Butterflies, 262
UGens (unit generators), 61–62, 186
Ultrafield, 232
Um Amel (Leila Shereen Sakr), 133
Unheimlich Schön, 207
University of California, 63–64
UNIX, 63
Unprepared Piano, 150–151
Vaggione, Horacio, 213, 217
Vakuum, 126
Valley Flow, 207
Van Nort, Doug, 261–262
Varèse, Edgard, 16, 20, 21–22, 23f. 1.3, 211, 259
variable function generator, 119–120
Vaucanson, Jacques, 10
Vawter, Noah, 149–150
Vespers, 45
vibraphone, 87
Vicentino, Nicola, 9
Vicks: medicated cough drops commercial, 162
video game music, 164–167, 173–174
video jockeys,see VJing
video synthesisers, 129
video technology, 129
Videola, 163
Viñao, Alejandro, 171–173
Violin Phase, 47
virtual instruments, 197, 199, see also physical model synthesis
virtual reality environments, 167
virtual studio communities, 36
virtual synthesisers, 92–93
virtuosity, 97, 101–102
visual jockeys.see VJing
visual music, 125–126, see also live audiovisuals
visual structures in composition, 82
Vivencias, 210
VJing
equipment, 130
modus operandi, 123, 128, 131, 132f. 7.1
origin, 124
use of social media, 133
sound vision relationship, 135
VL 1 synthesiser, 195
vocal manipulation, 171
voice, in acousmatic music, 208–209
Voice and Phenomenon, 77
Voice Crack, 49
Volans, Kevin, 267–268
Volt Air, 209–210
Vox 5, 209
Wagner, Richard, 280, 283–284, 283f. 15.5
Wahid, Hasnizam Abdul, 296–297
Wainwright, Max, 252–253
Waisvisz, Michel, 49–50, 97–98, 98f. 5.1, 247
Wang, G., 150
Washington, Sarah, 56, 243
Watson, Chris, 218
Wave Train, 44
Webern, Anton, 109
WebSynths, 149–150
wellenwanne 2000, 82
Westerkamp, Hildegard, 218–219, 234, 234f. 12.2, 285
Whitty, Paul, 244
Williams Mix, 158, 211
Winderen, Jana, 232
Wire Recorder Piece, 26–27
wire recording, 26–27
Wishart, Trevor, 209, 220
Wolfman, The, 44–45
Woodhouse, Jim, 194
Workshop Oscillator Machine, 247
World’s Simplest Oscillator, 247
WoundedMan’yo-shu, 76–77
Xenakis, Iannis, 112–114, 216, 218, 259–260
xerrox, 83
Yamaha synthesisers, 30, 187, 195
Yasunao Tone, 52
Yuasa, Joji, 286
Yuko Nexus6, 25
Zang Tumb Tumb (Marinetti), 17
Zwölftonspiele, 107

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  • Index
  • Edited by Nick Collins, University of Durham, Julio d'Escrivan, University of Huddersfield
  • Book: The Cambridge Companion to Electronic Music
  • Online publication: 27 October 2017
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  • Index
  • Edited by Nick Collins, University of Durham, Julio d'Escrivan, University of Huddersfield
  • Book: The Cambridge Companion to Electronic Music
  • Online publication: 27 October 2017
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  • Index
  • Edited by Nick Collins, University of Durham, Julio d'Escrivan, University of Huddersfield
  • Book: The Cambridge Companion to Electronic Music
  • Online publication: 27 October 2017
Available formats
×