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Electronic Music > Test #1 > Flashcards

Test #1 Flashcards

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1
Q

Additive Synthesis

A

creates timbres by adding sine waves

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2
Q

Aerophones

A

Any instrument that makes sound by causing air to vibrate

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3
Q

Alternating Current

A

electric charge periodically reverses direction

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4
Q

Amplitude

A

height of a wave

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5
Q

Analog

A

non quantized variations; any continuous signal for which the time varying feature (variable) of the signal is a representation of some other time varying quantity, i.e., analogous to another time varying signal. For example, in an analog audio signal, the instantaneous voltage of the signal varies continuously with the pressure of the sound waves.

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6
Q

Attack

A

Initiation of a sound

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7
Q

Milton Babbit

A

Associated with the Colombia-Princeton Electronic Music Center

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8
Q

Luciano Berio

A

Founded Studio di Fonologia in Milan, Italy

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9
Q

Cahill

A

Founder of the Telharmonium

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10
Q

Channels

A

different layers of sounds/inputs/outputs in all electronic work

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11
Q

Chordophones

A

instruments that make sounds via vibrating strings

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12
Q

Cologne Studio

A

the city in Germany where WDR (Westdeutscher Rundfunk, radio station) was created in 1951 and Elektronishe Musik with Stockhausen and Meyer-Eppler

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13
Q

Colombia University Studio

A

Ussachevsky in charge and Luening associated

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14
Q

Colombia-Princeton Electronic Music Center

A

created with a grant from the Rockefeller Foundation and got the RCA Mark II; it came after the Columbia University Studio; Ussachevsky and Luening of Columbia and Babbitt and Sessions from Princeton

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15
Q

Compression

A

affects volume/dynamics

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16
Q

Cut-off frequency

A

a boundary in which energy flowing through a system begins to reduce

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17
Q

Decay

A

end of a sound

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18
Q

Delay

A

sound played again after a period of time

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19
Q

Depth of Field

A

front to back portion of the “cube”

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20
Q

Direct Variation

A

turning the tape around; retrograde

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21
Q

3 Types of Echo

A

Single channel reflection, dual channel reflection, and head-slap

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22
Q

Elektronishe Musik

A

Developed at Cologne Studio/WDR

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23
Q

Electrophones

A

Instruments involving electricity

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24
Q

Envelope

A

Attack, sustain, and decay

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25
Q

EQ

A

Balances the highs, mids, and lows

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26
Q

Erase Head

A

erases content on a reel of magnetic tape

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27
Q

Fader

A

controls the volume on a mixer

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28
Q

Filter

A

an electrical circuit that emphasizes or eliminates some frequencies from a signal

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29
Q

Fourier

A

combined sine waves to make new sounds

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30
Q

Frequency

A

determines pitch

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31
Q

Group de Recherche de Musique Concrete (GRM)

A

Created by Shaeffer as a Paris school

32
Q

Half-track Stereo

A

the left channel occupies half of the tape and the right channel occupies the other half; professional use

33
Q

Helmholtz

A

determined pitch based on sine waves

34
Q

Head Gap

A

the gap between the two metal rods in a head

35
Q

Pierre Henry

A

worked with Shaeffer to develop Musique Concrete; he was the musician of the two

36
Q

Hertz

A

cycles per second

37
Q

Hi Shelving Filter

A

boosts the highs

38
Q

Idiophones

A

instrument that makes sounds via vibrations; plucked instruments

39
Q

Keane’s “Essential Phases”

A

forming an objective, making sounds, listening

40
Q

Left/Right Mix (Master Fader)

A

controls the signal strength of the board output

41
Q

Otto Leuning

A

New York composer at Columbia University Studio

42
Q

Loops

A

piece of tape that is played in continuous stream repeating

43
Q

Low Shelving Filter

A

boosts the lows

44
Q

Bruno Maderna

A

worked with Stockhausen at the Columbia-Princeton Electronic Music Center

45
Q

Toshiro Mayuzumi

A

introduced musique concrete to Japan

46
Q

Membranophones

A

sound by vibrating a membrane (drums)

47
Q

Werner Meyer-Eppler

A

At Cologne Studio/WDR/Elektronishe Musik with Stockhausen

48
Q

Multitrack

A

being able to record several sources to create a cohesive whole

49
Q

Musique Concrete

A

Manipulating found sounds

50
Q

Nippon Houso Kyokai (NHK)

A

Japan’s studio

51
Q

Luigi Nono

A

eventually becomes main composer of Milan studio, Studio di Fonologia

52
Q

Pauline Oliveros

A

she founded the San Francisco Tape Music Center (SFTAPE); post-war electronic music; coined the term “Deep Listening” and she is in the Deep Listening Band which specializes in performing in high resonance areas such as cathedrals; SHE PLAYS THE ACCORDION

53
Q

Panning

A

positioning the sound in the left-right field of the “cube”

54
Q

Period

A

one cycle

55
Q

Phase

A

sounds playing together, synced

56
Q

Quarter-Track Stereo

A

four tracks that work in pairs; for the consumer

57
Q

Record/Playback Head

A

middle head on the HTR

58
Q

Release

A

last part of the envelope

59
Q

S.F. Tape Music Center

A

Founded by Morton Subotnick, Pauline Oliveros, and Ramon Sender; ended in 1969

60
Q

Pierre Shaeffer

A

pioneered musique concrete at GRM (Group de Recherche de Musique Concrete) in Paris with Pierre Henry; he was the engineer of the two; “Radiodiffusion Française” (RDF, national radio broadcast) played his music in France

61
Q

Minao Schibata

A

at NHK

62
Q

Ramon Sender

A

at SFTAPE

63
Q

Speed Variation

A

changes speed at which tape passes by the head gap, affects pitch

64
Q

Splicing

A

cutting the tape

65
Q

Stereo Field

A

left-right field

66
Q

Karlheinz Stockhausen

A

Mainly at Cologne studio, later at Columbia

67
Q

Studio di Fonologia Musicale

A

Milan’s studio founded by Berio

68
Q

Morton Subotnick

A

founded S.F. Tape Music Center

69
Q

Sustain

A

middle portion of the envelope

70
Q

Telharmonium

A

!

71
Q

Trim

A

how much input goes into the microphone

72
Q

Unity Gain

A

output that equals the input; “gain” itself means the ability of a circuit to amplify a signal from input to output

73
Q

Vladimir Ussachevsky

A

founded Colombia Studio

74
Q

White Noise

A

a signal that contains equal power within any frequency band with a fixed width; it is a statistical model rather than a specific signal

75
Q

Creating a Head-Slap

A

Route output of Tape 1 to channel one of the mixer; Route channel 1 of the mixer to left input of Tape 2; Route output of left channel of Tape 2 to channel 5 of the mixer; Route direct out of channel 5 to right input of Tape 2; Route output of right channel of Tape 2 to channel 6; With Tape 2 set to input, play recorded material from Tape 1 and set levels on left channel of Tape 2 (set to input); once satisfied, switch Tape 2 left channel to REPRO; put Tape 2 into record ready position and start both machines with Tape 1 set to REPRO and Tape 2 recording to left channel but set to REPRO as well, Channel 2 should be set to input; Start tapes and set level for channel 2, stop, set channel 2 to REPRO; finally, both channels of Tape 2 armed and in REPRO, record example to Tape 2; Route channels 5 and 6 to L/R Mix and you should hear a close echo

Electronic Music (1 decks)

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