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Octophonic Sound
Octophonic sound is a form of audio reproduction that presents eight discrete audio channels using eight speakers. For playback, the speakers may be positioned in a circle around the listeners or in any other configuration. Typical speaker configurations are eight spaced on a circle by 45° (oriented with first speaker 0° or at 22.5°), or the vertices of a cube to create a double quadraphonic set-up with elevation. In reference to his own work, Karlheinz Stockhausen made a distinction between these two forms, reserving the term "octophonic" for a cube configuration, as found in his '' Oktophonie'' and the electronic music for scene 2 and the Farewell of ''Mittwoch aus Licht'', and using the expression "eight-channel sound" for the circular arrangement, as used in ''Sirius'', '' Unsichtbare Chöre'', or Hours 13 to 21 of the '' Klang'' cycle. While quadraphonic sound uses four speakers positioned in a square at the four corners of the listening space (either on the ground or ra ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sound Recording And Reproduction
Sound recording and reproduction is the electrical, mechanical, electronic, or digital inscription and re-creation of sound waves, such as spoken voice, singing, instrumental music, or sound effects. The two main classes of sound recording technology are analog recording and digital recording. Sound recording is the transcription of invisible vibrations in air onto a storage medium such as a phonograph disc. The process is reversed in sound reproduction, and the variations stored on the medium are transformed back into sound waves. Acoustic analog recording is achieved by a microphone diaphragm that senses changes in atmospheric pressure caused by acoustic sound waves and records them as a mechanical representation of the sound waves on a medium such as a phonograph record (in which a stylus cuts grooves on a record). In magnetic tape recording, the sound waves vibrate the microphone diaphragm and are converted into a varying electric current, which is then converted to ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Steps And Skips
In music, a step, or conjunct motion,Bonds, Mark Evan (2006). ''A History of Music in Western Culture'', p.123. 2nd ed. . is the difference in pitch between two consecutive notes of a musical scale. In other words, it is the interval between two consecutive scale degrees. Any larger interval is called a skip (also called a leap), or disjunct motion. In the diatonic scale, a step is either a minor second (sometimes also called ''half step'') or a major second (sometimes also called ''whole step''), with all intervals of a minor third or larger being skips. For example, C to D (major second) is a step, whereas C to E (major third) is a skip. More generally, a step is a smaller or narrower interval in a musical line, and a skip is a wider or larger interval with the categorization of intervals into steps and skips is determined by the tuning system and the pitch space used. Melodic motion in which the interval between any two consecutive pitches is no more than a step, or, less ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Christoph Von Blumröder
Christoph von Blumröder (born 18 July 1951) is a German musicologist. Career Born in Northeim, Blumröder studied musicology at the Albert-Ludwigs-Universität Freiburg in Breisgau with Hans Heinrich Eggebrecht, philosophy and history of the . After his doctorate in 1979, Blumröder was a research assistant at the ' (1972–2006). From 1980 Blumröder also taught at the university there, where he received his habilitation in 1990. After assistant professorships at the University of Bonn in the winter semester of 1991/92 and at the Saarland University in the summer semester of 1995, he accepted an appointment as professor for contemporary music at the Musicological Institute of the University of Cologne in the winter semester of 1996/97. There he founded the cycles of events ''Composition and Musicology in Dialogue'' (1997) and ''Space Music'' (1998) as well as the publication series ''Signale aus Köln. Beiträge zur Musik der Zeit'' and was elected chairman of the associatio ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Perspectives Of New Music
''Perspectives of New Music'' (PNM) is a peer-reviewed academic journal specializing in music theory and analysis. It was established in 1962 by Arthur Berger and Benjamin Boretz (who were its initial editors-in-chief). ''Perspectives'' was first published by the Princeton University Press, initially supported by the Fromm Music Foundation.David Carson Berry, "''Journal of Music Theory'' under Allen Forte's Editorship," ''Journal of Music Theory'' 50/1 (2006), 21, n49. The first issue was favorably reviewed in the ''Journal of Music Theory'', which observed that Berger and Boretz had produced "a first issue which sustains such a high quality of interest and cogency among its articles that one suspects the long delay preceding the yet-unborn Spring 1963 issue may reflect a scarcity of material up to their standard". However, as the journal's editorial "perspective" coalesced, Fromm became—in the words of David Gable—disenchanted with the "exclusive viewpoint hatcame to dominate" ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jerome Kohl
Jerome Joseph Kohl (November 27, 1946 – August 4, 2020) was an American musicologist, academic journal editor, and recorder teacher. A music theorist at the University of Washington, he became recognized internationally as an authority on the music of Karlheinz Stockhausen. Kohl was also a contributor at Wikipedia (a "Wikipedian"). Life and work Kohl grew up in Lincoln, Nebraska, with three siblings. During high school and college, he played the clarinet in the local symphony orchestra. He received his undergraduate, and in 1971, his master's degree in music from the University of Nebraska. Drafted into the army, he played in an army band during the Vietnam War. Afterwards, he started his doctoral studies in music theory at the University of Washington in Seattle. In the 1970s, Kohl joined the Seattle Recorder Society, attending and running classes at their meetings, as well as teaching privately. In 1976, Kohl co-founded and became the board president of the Early Music Guil ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Height Channels
Height channels are audio channels in surround sound multichannel audio. Height channels are located above the listening area and increase the sound field beyond the horizontal plane. Two systems that use height channels, Dolby Pro Logic IIz and DTS Neo:X, which matrixes a front left and front right height out of the front left and front right channels. According to Dolby, non-directional ambient effects such as rain and wind are mapped to the height channels. This is similar to what is mapped to rear surround channels. In 2002, Dolby premiered a master of ''We Were Soldiers'' which featured a Sonic Whole Overhead Sound soundtrack. DTS-HD is a format which supports virtually any amount (over 2000) discrete channels for which a demonstration of an 11.2 system using four height channels was given at a Consumer Electronics Show. Tomlinson Holman's 10.2 surround sound, a format currently under development, uses 12 or 14 fully discrete channels, both including two height channels ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Williams Mix
''Williams Mix'' (1951–1953) is a 4'15" musique concrete composition by John Cage for eight simultaneously played independent quarter-inch magnetic tapes. The first octophonic music, the piece was created by Cage with the assistance of Earle Brown, Morton Feldman, and David Tudor, using many tape sound sources and a paper score he created for the construction. "Presignifying the development of algorithmic composition, granular synthesis and sound diffusion," it was the third of five pieces completed in the ''Project for Music for Magnetic Tape'' (1951–1954), funded by dedicatee architect Paul Williams Jr.Hall, Patricia and Sallis, Friedemann (2004). ''A Handbook to Twentieth-Century Musical Sketches'', p. 189. . The material, recorded by Louis and Bebe Barron, was organized in six categories: city, country, electronic, manually produced, wind, and "small" sounds; "subjected...to '' I Ching'' manipulations, producing constant jumps from one sound to another or buzzing, scramb ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
John Cage
John Milton Cage Jr. (September 5, 1912 – August 12, 1992) was an American composer and music theorist. A pioneer of indeterminacy in music, electroacoustic music, and non-standard use of musical instruments, Cage was one of the leading figures of the post-war avant-garde. Critics have lauded him as one of the most influential composers of the 20th century. He was also instrumental in the development of modern dance, mostly through his association with choreographer Merce Cunningham, who was also Cage's romantic partner for most of their lives. Cage is perhaps best known for his 1952 composition ''4′33″'', which is performed in the absence of deliberate sound; musicians who present the work do nothing aside from being present for the duration specified by the title. The content of the composition is not "four minutes and 33 seconds of silence," as is often assumed, but rather the sounds of the environment heard by the audience during performance. The work's challenge t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Larry Austin
Larry Don Austin (September 12, 1930 – December 30, 2018) was an American composer noted for his electronic and computer music works. He was a co-founder and editor of the avant-garde music periodical '' Source: Music of the Avant Garde''. Austin gained additional international recognition when he realized a completion of Charles Ives's '' Universe Symphony''. Austin served as the president of the International Computer Music Association (ICMA) from 1990 to 1994 and served on the board of directors of the ICMA from 1984 to 1988 and from 1990 to 1998. Early life Austin was born in Duncan, Oklahoma. He received a bachelor's (Music Education, 1951) and master's degree (Music, 1952) from University of North Texas College of Music. In 1955 he studied at Mills College, and from 1955 to 1958 he engaged in graduate study at the University of California, Berkeley, leaving to accept a faculty position at the University of California, Davis. Austin studied with Canadian composer Violet Arc ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gérard Pape
Gérard Pape (born April 22, 1955 in Brooklyn, New York) is a composer of electronic music, author, and Lacanian psychologist. He is a former student of David Winkler, George Cacioppo, William Albright, and George Balch Wilson. He became the director of Les Ateliers UPIC (now CCMIX) in 1991 and in 2015 authored a French-English bi-lingual book ''Musipoesc: Writings About Music'' that was published by Éditions Michel de Maule. ''Musipoesc: Writings About Music'' by Gérard Pape Pape has lived and worked in France since the early 1990s. Biography Gérard Pape studied and music simultaneously at the |
Jonathan Harvey (composer)
Jonathan Dean Harvey (3 May 1939 – 4 December 2012)"Jonathan Harvey" was a British composer. He held teaching positions at universities and music conservatories in Europe and the USA. Life Harvey was born in , and studied at , eventually obtaining a PhD ...[...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Glissando
In music, a glissando (; plural: ''glissandi'', abbreviated ''gliss.'') is a glide from one pitch to another (). It is an Italianized musical term derived from the French ''glisser'', "to glide". In some contexts, it is distinguished from the continuous portamento. Some colloquial equivalents are slide, sweep (referring to the "discrete glissando" effects on guitar and harp, respectively), bend, smear, rip (for a loud, violent gliss to the beginning of a note), lip (in jazz terminology, when executed by changing one's embouchure on a wind instrument), plop, or falling hail (a glissando on a harp using the back of the fingernails). On wind instruments, a scoop is a glissando ascending to the onset of a note achieved entirely with the embouchure. Portamento Prescriptive attempts to distinguish the glissando from the portamento by limiting the former to the filling in of discrete intermediate pitches on instruments like the piano, harp, and fretted stringed instruments have run u ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
