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dc.contributor.authorDalgleish, Mat
dc.date.accessioned2016-10-06T14:02:18Z
dc.date.available2016-10-06T14:02:18Z
dc.date.issued2016-09-21
dc.identifier.citationDalgleish, M. (2016) 'Wiring the Ear: Instrumentality and Aural Primacy in and After David Tudor’s Unstable Circuits', Leonardo Music Journal, 26 (73)
dc.identifier.issn0961-1215
dc.identifier.doi10.1162/LMJ_a_00966
dc.identifier.urihttp://hdl.handle.net/2436/620181
dc.descriptionThis is an accepted manuscript of an article published by MIT Press in Leonardo Music Journal on 21/09/2016, available online: https://doi.org/10.1162/LMJ_a_00966 The accepted version of the publication may differ from the final published version.en
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.
dc.language.isoen
dc.relation.urlhttp://www.mitpressjournals.org/doi/10.1162/LMJ_a_00966
dc.subjectDavid Tudor
dc.subjectelectronic music
dc.subjectlive electronics
dc.subjectmusical instrument design
dc.titleWiring the ear: Instrumentality and aural primacy in and after David Tudor’s Unstable Circuits
dc.typeJournal article
dc.identifier.journalLeonardo Music Journal
dc.date.accepted2016-09-01
rioxxterms.funderInternal
rioxxterms.identifier.projectUoW061016MD
rioxxterms.versionAM
rioxxterms.licenseref.urihttps://creativecommons.org/CC BY-NC-ND 4.0
rioxxterms.licenseref.startdate2017-03-20
dc.source.volume26
dc.source.issue
dc.source.beginpage73
dc.source.endpage74
refterms.dateFCD2018-10-19T08:32:40Z
refterms.versionFCDAM
refterms.dateFOA2017-03-20T00:00:00Z
html.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.


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