Wiring the Ear: Instrumentality and Aural Primacy in and After David Tudor’s Unstable Circuits

2.50
Hdl Handle:
http://hdl.handle.net/2436/620181
Title:
Wiring the Ear: Instrumentality and Aural Primacy in and After David Tudor’s Unstable Circuits
Authors:
Dalgleish, Mat ( 0000-0003-3697-8556 )
Abstract:
The early 20th century saw a spate of innovative electronic musical instruments. For instance, the theremin (1919) and Ondes Martenot (1928) not only offered new sound generation techniques, but married them to similarly innovative means of interaction. However, by the late 1920s, the development of novel performance interfaces had stalled, and the familiar organ-type keyboard re-appeared on many electronic instruments of the 1930s (Manning 2004, pp. 4-6). Moreover, as the era of the tape-based studio began postwar, the link between electronic music and live performance seemed to recede (Ibid., pp. 19-74). Compared to the limited timbres of most earlier electronic instruments, the sound creation and manipulation possibilities of tape were more sophisticated. However, splicing together even a short piece could take months of toil. Thus, by the mid-1960s, a number of real-time alternatives had emerged, from Stockhausen’s electronic processing of acoustic instruments, to the modular synthesizer, and the live electronics of David Tudor.
Citation:
Wiring the Ear: Instrumentality and Aural Primacy in and After David Tudor’s Unstable Circuits 2016:73 Leonardo Music Journal
Journal:
Leonardo Music Journal
Issue Date:
21-Sep-2016
URI:
http://hdl.handle.net/2436/620181
DOI:
10.1162/LMJ_a_00966
Additional Links:
http://www.mitpressjournals.org/doi/10.1162/LMJ_a_00966
Type:
Article
Language:
en
ISSN:
0961-1215
Appears in Collections:
FOA

Full metadata record

DC FieldValue Language
dc.contributor.authorDalgleish, Maten
dc.date.accessioned2016-10-06T14:02:18Z-
dc.date.available2016-10-06T14:02:18Z-
dc.date.issued2016-09-21-
dc.identifier.citationWiring the Ear: Instrumentality and Aural Primacy in and After David Tudor’s Unstable Circuits 2016:73 Leonardo Music Journalen
dc.identifier.issn0961-1215en
dc.identifier.doi10.1162/LMJ_a_00966-
dc.identifier.urihttp://hdl.handle.net/2436/620181-
dc.description.abstractThe early 20th century saw a spate of innovative electronic musical instruments. For instance, the theremin (1919) and Ondes Martenot (1928) not only offered new sound generation techniques, but married them to similarly innovative means of interaction. However, by the late 1920s, the development of novel performance interfaces had stalled, and the familiar organ-type keyboard re-appeared on many electronic instruments of the 1930s (Manning 2004, pp. 4-6). Moreover, as the era of the tape-based studio began postwar, the link between electronic music and live performance seemed to recede (Ibid., pp. 19-74). Compared to the limited timbres of most earlier electronic instruments, the sound creation and manipulation possibilities of tape were more sophisticated. However, splicing together even a short piece could take months of toil. Thus, by the mid-1960s, a number of real-time alternatives had emerged, from Stockhausen’s electronic processing of acoustic instruments, to the modular synthesizer, and the live electronics of David Tudor.en
dc.language.isoenen
dc.relation.urlhttp://www.mitpressjournals.org/doi/10.1162/LMJ_a_00966en
dc.rightsArchived with thanks to Leonardo Music Journalen
dc.rights.urihttp://creativecommons.org/licenses/by-nc-nd/4.0/*
dc.subjectDavid Tudoren
dc.subjectelectronic musicen
dc.subjectlive electronicsen
dc.subjectmusical instrument designen
dc.titleWiring the Ear: Instrumentality and Aural Primacy in and After David Tudor’s Unstable Circuitsen
dc.typeArticleen
dc.identifier.journalLeonardo Music Journalen
dc.date.accepted2016-09-
rioxxterms.funderInternalen
rioxxterms.identifier.projectUoW061016MDen
rioxxterms.versionAMen
rioxxterms.licenseref.urihttps://creativecommons.org/CC BY-NC-ND 4.0en
rioxxterms.licenseref.startdate2017-03-20en
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