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MUSC 426 History of Electro-Acoustic Music > 426 Final Review > Flashcards

426 Final Review Flashcards

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1
Q

People/Group: (1950) John Cage

A

A composer, artist, theorist and writer who worked with aleatoric methods. Inspired by various world philosophies and self-discovery he explored non-traditional uses of instruments and performance concepts. Associated with Barrons, working in their New York studio, encouraged and inspired the Barrons by saying they were making music not noise. Worked with them on William’s Mix an aleatoric piece of tape music.

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2
Q

People/Group: (1950) Bebe & Louis Barron

A

Married couple credited with signficant electronic film scores and association with composer John Cage who encouraged them that there work was valid as music. Louis invented a circuits most notably the a ring modulator and Bebe worked heavily in compition tape music using effects and tape manipulation.

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3
Q

People/Group: (1955) Hugh Le Caine

A

Match: NRC (National Research Council, Ottawa, Canada), Electronic Sackbut // Short Answer: Canadian researcher, inventor and composer, LeCaine built a score of new instruments including the Electronic Sackbut and voltage control systems. Dripsody, a tape manipulated piece based on a recording of a single drop of water.

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4
Q

People/Goup: () Robert Moog

A

NYC, musician minded, used black & white keyboard to control, his first voltage controlled synthesize 1964,

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5
Q

People/Group: () Morton Subotnick, Don Buchla

A

west coast, Cal Arts, San Francisco Tape Music Center, Buchla 100, invented sequencer

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6
Q

People/Group: () Wendy Carlos

A

student of Ussachevsky, worked with Robert Moog updates and developments, Switched on Bach (Billboard Top 40, into top 10), A Clockwork Orange, The Shining, Tron

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7
Q

People/Group: () Charles Wuorinen

A

12-tone, Time’s Encomium, RCA Mark II, Pullitzer Prize, SLOPE, quadraphonic (4 channel), student of Luening & Ussachevsky

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8
Q

People/Group: (1951) Otto Luening, Vladimir Ussachevsky, Carlos, Wuorinen

A

Columbia University, tape, overdubbing, playback speed, tape manipulation, compositions were concrete first later electronic generated, performances were acousmatic – Ussachevsky: ADSR envelope, Luening: composer, 12-tone, flautist

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9
Q

People/Group: () Ives, Schoenberg, Korngold, John Williams

A

Hollywood Music

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10
Q

People/Group: () Radio Japan

A

the work of RJ included reverb modelling in spaces, Kakehashi?

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11
Q

People/Group: (1960) Bell Labs

A

Jean-Claude Risset, additive and wave-table synthesis, tried to synthesize brass sounds

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12
Q

People/Group: (1987) National Music Centre

A

Calgary AB museum with collection of instruments namely notable keyboards (organs, pianos) and synthesizers

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13
Q

People/Group: () Dave Smith

A

Sequential Circuits (SCI), conceived and design MIDI originally called “Universal Synthesizer Interface”

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14
Q

People/Goup: () Ikutaro Kakehashi

A

Kakehashi Radio 1954, Roland 1972 synths/drum machine/effects units, Boss Pedals 1977, involved in standardizing MIDI

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15
Q

People/Group: (1985) John Oswald

A

Canadian composer, Plunderphonics: Audio Piracy as a Compositional prerogative

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16
Q

People/Group: Lawrence Lessig

A

“we cannot stop technology, we can only criminalize its use”

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17
Q

Device/Method: () aleatoric

A

Music composed, produced or performed based on random chance such as a coin toss or dice roll.

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18
Q

Device/Method: () acousmatic

A

performer’s play using a sequencer and/or recording

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19
Q

Device/Method: () synthesis

A

A vibrating object creates changes in air pressure, which vibrates our ear drum, we “hear” it as sound. A synthesizer mimics this natural acoustic process. Synthesizers generate audio through various forms of analog and digital synthesis processes.

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20
Q

Device/Method: () capacitor/capacitance

A

the ability of a component or circuit to collect and store energy in the form of an electrical charge

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21
Q

Device/Method: () pickup

A

a transducer that captures or senses mechanical vibrations produced by musical instruments

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22
Q

Device/Method: () resistor

A

an electrical component that limits or regulates the flow of electrical current in an electronic circuit

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23
Q

Device/Method: () oscillator

A

a device that outputs repeating waveforms

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24
Q

Device/Method: () sine wave

A

a continous s-shaped wave that oscillates smoothly above and below zero

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25
Q

Device/Method: () LFO

A

low frequency oscillator, when applied to another signal creates pulse at rate of LFO

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26
Q

Device/Method: () VCA

A

voltage controlled amplifier (amplifier), an electronic device for increasing the amplitude of electrical signals

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27
Q

Device/Method: () envelope

A

the manner in which a tone starts and stops with rise and decay over time (attack, transient, decay)

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28
Q

Device/Method: () transient

A

the initial peak of a sound—the first spikes in the waveform

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29
Q

Device/Method: (1951) envelope generator

A

Ussachevsky, Columbia, envelope generator, controls ADSR attach decay sustain release

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30
Q

Device/Method: () mixer

A

device for controlling playback volume and effects from multiple incoming audio sources and outgoing mix

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31
Q

Device/Method: () patch

A

a bay to receive cables or pegs that direct signal or voltage control to modules

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32
Q

Device/Method: () signal flow

A

VCO generates wave forms (sine, square/pulse, sawtooth, triangle), envelope generator ADSR, noise generators add filtered noise, LFO modulating parameters (vibrato, tremolo, timbre), reverb/echo/phase

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33
Q

Device/Method: () filter

A

low-pass/hi-cut, high-pass/low-cut, band-pass, shelf or notch, allows a range of frequencies through while attenuating frequencies beyond the set cutoff, subtractive synthesis

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34
Q

Device/Method: () analog synthesizer

A

uses electronic components to create periodic sound waves

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35
Q

Device/Method: () subtractive synthesis

A

complex waveforms are generated by oscillators and then shaped with filters to remove or boost specific frequencies. Subtractive synthesis is characterized as “rich” and “warm.”

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36
Q

Device/Method: () additive synthesis

A

AKA Fourier Synthesis, a large number of waveforms, usually sine waves, are combined into a composite sound, first instance: pipe organ – combining pipes of different lengths to create different timbres called mixtures and indicated by organ stops, Risset at Bell Labs,

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37
Q

Device/Method: () FM synthesis, frequency modulation

A

John Chowning, waveforms are modulated with the frequency of other waveforms; the resulting complex waveform can, in turn, be used to modulate another, and this another, and so on. FM synthesis can imitate acoustic sounds such as piano, strings and organs. FM synthesis is characterized as “harsh”, “glassy” and “chilly.”

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38
Q

Device/Method: () phase modulation

A

Amplitude of a baseband signal modifies phase of a carrier signal keeping amplitude and frequency of a carrier constant? Used in broadcast radio, wifi, GSM & satellite.

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39
Q

Device/Method: () phase distortion synthesis

A

signal and waveform generation implemented in Casio CZ synthesizers and Yamaha DX7, is similar to FM synthesis. modified phase angles of waveforms to generate complex overtones

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40
Q

Device/Method: () wave-table synthesis

A

synthesizers modulate smoothly between digital representations of different waveforms, changing the shape and timbre. [Used in digital additive synthesis, e.g., Ensoniq ESQ 1], Risset at Bell Labs

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41
Q

Device/Method: () sample-based synthesis

A

instead of sounds being created by synthesizers, samples (digital recordings of sounds) are played back and shaped with components such as filters, envelopes and LFOs.

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42
Q

Device/Method: () vector synthesis

A

Charles Wuorinen, pioneered by the Prophet VS, users crossfade between different sound sources using controllers such as joysticks.

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43
Q

Device/Method: () granular synthesis

A

an audio sample is split into “grains,” usually between one hundredth and one tenth of a second in length, which are recombined and played back.

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44
Q

Device/Method: () physical modelling synthesis

A

a mathematical model of a physical sound source is created.

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45
Q

Device/Method: (1972) parametric EQ

A

Most channel equalization on mixing consoles made from 1971 to the present day rely upon the designs of Flickinger, Massenburg and McNeal. Massenburg taught Paul Johnson at McGill

46
Q

Device/Method: () cut-off

A

frequency at which the filter displays a noticable difference (-3dB point)

47
Q

Device/Method: () slope

A

how steep the curve is (first order is 6dB/octave or half the output one octave above or below)

48
Q

Device/Method: () center frequency

A

the middle of the cut/boost range

49
Q

Device/Method: () Q

A

bandwidth (centre frequency/frequency range affected -3dB points on curve)

50
Q

Device/Method: () mod wheel

A

controls LFO (pulse rate)

51
Q

Device/Method: () pitch wheel

A

control Pitch bend (frequency)

52
Q

Device/Method: () modular synthesizer

A

comprised of components or “modules” patched with cables to direct voltage and signal, Buchla 100/500, Moog Modular Synth 12 & 3, PAiA 2720(r), EMS Synthi 100,

53
Q

Device/Method: () modules

A

VCOs, Envelope Generators ADSR, Envelope Followers, Noise Filters, Filters, LFOs, Reverb, Echo, Phase, step sequencer

54
Q

Device/Method: () non-modular synthesizer

A

Contain integrated signal routing systems within a single unit eliminating the need for external patching between separate module unites. minimoog, Roland SH3a, ARP Odyssey, ARP 2600 semi-modular, Moog Matriach semi-mod– both with some component/modules internally pre-wired

55
Q

Device/Method: () Music concrete

A

A genre in which real-world sounds are valued as music in composition. The sounds are generally recorded, traditionally on disc or tape, organized, manipulated and mixed for playback in performance.

56
Q

Device/Method: () tape

A

magnetic tape retains memory over decades at high sound quality, single channel, quadrophonic (4ch), octophonic (8ch)

57
Q

Device/Method: (1946) Fender Rhodes

A

Harold Rhodes, modified grand piano –> electric piano, hammer hit metal tines, vibrate against a pickup, external amplifier & speaker

58
Q

Device/Method: (1963) Mellotron

A

Henry Chamberlin, polyphonic tape loop playback machine

59
Q

Device/Method: () Wurlitzer

A

tines that are struck, vibration interrupts capacitance of a strip

60
Q

Device/Method: (1977) Sequential Prophet 5

A

internal patch memory, 5 voice polyphony, FM synthesis & ring mods, huge list of users

61
Q

Device/Method: () ring modulator

A

Louis Barron, a signal processing function, an implementation of frequency mixing, in which two signals are combined to yield an output signal. One signal, called the carrier, is typically a sine wave or another simple waveform; the other signal is typically more complicated and is called the input or the modulator signal.

62
Q

Device/Method: () Buchla 100

A

Buchla & Subotnick, optical sensors, no keyboard but capacative strips generating voltage on touch,

63
Q

Device/Method: (1971) Buchla 500

A

polyphonic, two oscilloscopes, metering to view what’s happening, hybrid, digital controlled (DCO), you can capture the digital information as a sequence onto floppy disk!

64
Q

Device/Method: (1964) Moog Modular Synth 1, 2 & 3

A

first voltage controlled synth in 1964, large modular synth with banks of oscillators, envelopes, filters wooden cabinets HUGE

65
Q

Device/Method: (1970) Minimoog

A

non-modular, monophonic synth, 3 VCOs (sine, square, sawtooth, triangle + white & pink noise), VCF and VCA, preset patch

66
Q

Device/Method: (1957) RCA Mark II

A

Charles Wuorinen, Olsen & Belar at RCA Laboratories Princeton NJ, Columbia University, Ussachevsky, Babbit, vaccuum tubes

67
Q

Device/Method: (1970) ARP 2002, 2500, 2600

A

Alan Robert Pearlman, competitor to Moog, closed in 1981, modular & semimodular

68
Q

Device/Method: () ARP Odyssey

A

Herbie Hancock Chameleon, Film: Apocolypse Now helicopter sounds, non-modular

69
Q

Device/Method: () Oberheim OB-1, OB-8

A

monophonic OB-1, polyphonic OB-8

70
Q

Device/Method: (1969) EMS VC3 “Putney”

A

patch panel instead of patch bay, Joystick - combines mod and pitch-wheels, x & y axis

71
Q

Device/Method: () EMS Synthi 100

A

analog/digital hybrid by Electronic Music Studios (London), modular, developed with EMS VCS3 modules x6

72
Q

Device/Method: () PAiA 2720(r)

A

DIY kit, modules

73
Q

Device/Method: (1978) Roland CR-78

A

“compu-rhythm” drum machine

74
Q

Device/Method: () Roland SH3a or SH5

A

SH3a non-modular

75
Q

Device/Method: () Yamaha CS-80

A

Vangelis, Bladerunner, polyphonic 8 voice with aftertouch

76
Q

Device/Method: () Yamaha Electone

A

electronic organ, basis of how to develop polyphonic synthesis

77
Q

Device/Method: (1983) Yamaha DX7

A

FM synthesizer, digital, considered first commercially successful synth, 16 voice polyphony, MIDI, 32 voice storage,

78
Q

Device/Method: (1976) PPG Palm Products Germany

A

PPG 1003, first programmable (patch memory) polyphonic synth

79
Q

Device/Method: (1978) Korg MS-20

A

semi-modular monophonic, subtractive synthesis,

80
Q

Device/Method: (1979) Fairlight CM1

A

first sampler and workstation, digital synthesizer,

81
Q

Device/Method: (1994) Nord Lead series

A

“virtual analog synthesis”

82
Q

Device/Method: (1990) Proteus 1 rack-mount synths

A

by E-mu, rock and pop instrument samples, later orchestral sounds

83
Q

Device/Method: (1984) Casio CZ-101

A

first battery powered synth; fully programable- The first Casio synthesizer popularized the creation of original sounds.

84
Q

Device/Method: Virtual Synths

A

applications run on computers or mobile devices, often recreating seminal synths, sequencers, drum machines and new synthesizers etc.

85
Q

Device/Method: (1982) MIDI

A

Dave Smith, Musical Instrument Digital Interface – MIDI is a series of instructions sent electronically in the form of binary code by a controller that can be received by a variety of MIDI-enabled instruments and devices. MIDI is analogous to a roll for a player piano but with 127 assignable parameters including note on/note off, pitch, velocity (dynamics), after- touch, patch change, MIDI channel. The big names in manufacturing worked together to standardize Smith’s design, resulting in devices from different companies as well as computers to communicate.

86
Q

Device/Method: bit

A

smallest unit of storage, binary 1 on or 0 off, exponential powers, 256 in binary is 100M bits

87
Q

Device/Method: byte

A

“words” consisting of 8 bits, one byte has 256 possibilities, 0-255, in MIDI 128 types of of messages and channels

88
Q

Device/Method: byte

A

“words” consisting of 8 bits, one byte has 256 possibilities, 0-255, in MIDI 128 types of of messages and channels

89
Q

Device/Method: kilobyte

A

1000 bytes

90
Q

Device/Method: uses for MIDI

A

sequencing, live performance, quanitizing, drum machines, lighting, theatre stage machinery, more applications to be created

91
Q

Device/Method: General MIDI

A

predefined order to patches or sounds for programming, allows programmers to create MIDI tracks and assign different instruments on any device

92
Q

Device/Method: MIDI 2.0

A

MIDI unchanged since standarization in 1982, updated in 2020

93
Q

Device/Method: Analog Audio

A

sound pressure converted to voltage, continuous time

94
Q

Device/Method: Digital Audio

A

discrete points in time, perceived as contiuous the more slices/snapshots taken and held (sample and hold circuit)

95
Q

Device/Method: sample rate

A

time intervals of snapshots, 44.1kHz = 44,000 samples per second, 48kHz, 88.2, 96

96
Q

Device/Method: Quantization noise

A

finite number of possible values for voltage, difference between analog signal (infinite and continuous) to quantized values

97
Q

Device/Method: 8, 16 & 24 bit audio

A

8=256 possible voltages gradations per sample, 24=16Million, the more values/gradations the more smooth result approaching analog

98
Q

Device/Method: Nyquist frequency

A

or “folding frequency”, in signal processing a value 1/2 the sample rate, when converting continuous signal (analog) into discrete-time seqeunce (digital). when highest frequency of a signal is below NF the digital result will be free of distortion (aliasing) CD NF is 22050 for 44.1kHz sample rate

99
Q

Device/Method: aliasing

A

distortion created when the highest frequency of an analog signal exceeds the Nyquist Frequency of a sampler

100
Q

Device/Method: anti-aliasing filter

A

prevents distortion by attenuating frequencies of an analog signal that exceed the Nyquist Frequency of a sampler

101
Q

Device/Method: AD/DA Conversion

A

Analog-Digital is differentiation- producing samples/discrete values from a continous signal, Digital-Analog is integration- addition of discrete values/sample to reconstruct a curve

102
Q

Device/Method: AD- low pass filter

A

Brick Wall, cuts frequencies above the Nyquist frequency

103
Q

Device/Method: DA- low pass filter

A

avoid sampling errors by passing reconstructed audio through LP filter, eliminate sharp edges

104
Q

Device/Method: dither

A

noise added to make quiet signals and signals close to the zero crossing more accurately recorded

105
Q

Device/Method: sampling

A

jazz musicians quoted licks by other artists or previous recordings, Musique concrete used pre-recorded samples, hip hop live vinyl manipulation, mid-1980s synths combined sampling and synthesis, sampled attach and sythesized sustain

106
Q

Device/Method: sampler

A

musical instrument that can load, record, edit and playback recorded sounds mapped to a control surface (keyboard, drum pad…), Chamberlin & Mellotron tape strips/loops, digital samplers: computer music melodian, synclavier system, Fairlight CMI, Akai and E-mu samplers, Korg, Kawai

107
Q

Device/Method: music sampling

A

taking a portion of a sound recording and using it in a new piece of music

108
Q

Device/Method: Statue of Anne, Copyright Act 1709

A

British Parliament, designed to control what printers could do with their presses, exclusive rights to author for 14 years then became public domain, licenses were issued to allow printing for a certain duration

109
Q

Device/Method: US Copyright Act

A

Revised in 1976 to protect sound recordings, previously applied only to written music

110
Q

Device/Method: moral rights

A

“public domain” – Moral rights recognise a musician’s ongoing connection with their creative work. They are separate to rights of copyright and reflect the principle that people must respect your work and you as the creator of your work

111
Q

Device/Method: Mechanical Rights

A

obtain the proper licenses for performing or reproduction, can not enforce with cover bands, applies to major artists, using samples MR issued by holder of license, synchronization license when used with images, print license on sale of prints

MUSC 426 History of Electro-Acoustic Music (2 decks)

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