Books on experimental music / Musique Concrète

Experimental Music: Cage and Beyond (Music in the Twentieth Century) 2nd Edition

http://www.amazon.com/Experimental-Music-Beyond-Twentieth-Century/dp/0521653835/ref=redir_mobile_desktop?ie=UTF8&pi=SY115&ref_=pd_aw_sbs_4&simLd=1

Modern Music and After 3rd Edition

http://www.amazon.com/Modern-Music-After-Paul-Griffiths/dp/019974050X/ref=redir_mobile_desktop?ie=UTF8&pi=SL500_SY115&ref_=pd_aw_sbs_2&simLd=1

Almost Nothing with Luc Ferrari (Critical Ear) Hardcover – March 31, 2013

http://www.amazon.com/Almost-Nothing-Luc-Ferrari-Critical/dp/0982743912/ref=redir_mobile_desktop?ie=UTF8&pi=SY115&ref_=pd_aw_sims_1&simLd=1

Electronic Music and Musique Concrete Paperback – November 17, 2013

http://www.amazon.com/Electronic-Music-Musique-Concrete-Judd/dp/1905792514/ref=redir_mobile_desktop?ie=UTF8&ref_=redir_mdp_mobile

In Search of a Concrete Music Hardcover – November 26, 2012

http://www.amazon.com/Search-Concrete-Music-Pierre-Sch%C3%A6ffer/dp/0520265734/ref=redir_mobile_desktop?ie=UTF8&pi=SY115&ref_=pd_aw_sims_1&simLd=1

Fred judd, pioneer of audio visualization and electronic music  / Electronic music and musique concrète. London : N. Spearman, 1961.   

 

musicconcrete

Record Sounds, USB Mics and Experimental Music Books

Top 9 usb mics:

http://www.ebay.com/gds/Top-9-USB-Microphones-/10000000178240894/g.html

Samson go mic, cheap good usb mic.
http://m.youtube.com/watch?v=3JXip85jPfs

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Bluemic Yeti Pro
http://www.bluemic.com/yetipro/
http://techiefather.com/reviews/blue-yeti-pro-mic-review/

Yeti mic Works great! You just need a powered OTG cable and a USB battery pack.

https://play.google.com/store/apps/details?id=com.extreamsd.usbaudiorecorderpro

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External mics for android.
http://android.stackexchange.com/questions/19339/any-success-with-external-microphones-for-android-phones-or-tablets

Or for ios
http://m.smartlav.com/

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Usb Audiorecorder Pro

http://www.extreamsd.com/USBAudioRecorderPRO/

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Usb mic se2200a

http://www.seelectronics.com/usb2200a-usb-mic

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Steinberg UR22 2-Channel USB 2.0 Audio/MIDI Interface

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Tascam DR MK2
http://tascam.com/product/dr-100mkii/

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Sonic visualizer. I want to know what the frequencies of my sound are :

http://sonic-visualiser.en.softonic.com/
http://en.m.wikipedia.org/wiki/Sonic_Visualiser
http://www.sonicvisualiser.org

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Atari Punk Console “APC 2600” – Circuit Bent Analog Synth w/ Theremin Control !!  www.drblankenstein.com
http://m.youtube.com/watch?v=hnF3OuQkKp0

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Clavier à lumières

The clavier à lumières (keyboard with lights), or tastiéra per luce, as it appears in the score, was a musical instrument invented by Alexander Scriabin for use in his work Prometheus: Poem of Fire. However, only one version of this instrument was constructed, for the performance of Prometheus: Poem of Fire in New York in 1915.[1] The instrument was supposed to be a keyboard, with notes corresponding to colors as given by Scriabin’s synesthetic system, specified in the score,[2] However, numerous synesthesia researchers have cast doubt on the claim that Scriabin was a synesthete.[3][4][5][6]

The “Luce” part is notated on a treble staff with two parts, one proceeding on the circle of fifths during the piece, the other following the tonal centre of the music.[clarification needed]

Scriabin assigned the following colors to the following key areas:[citation needed]

Tone-to-color mapping
By chromatic scale
Note Colour
C red (intense)
C violet or purple
D yellow
D flesh (glint of steel)
E sky blue (moonshine or frost)
F deep red
F bright blue or violet
G orange
G violet or lilac
A green
A rose or steel
B blue or pearly blue

When the notes are ordered by the circle of fifths, the colours are in order of a spectrum, which leads numerous synesthesia researchers to argue that he did not experience the physiological condition of synesthesia.[3][4][5][6] Additionally, it has been argued that Scriabin’s color associations were influenced by his theosophic readings[6] and based on Sir Isaac Newton‘s Optics quoted by Louis Bertrand Castel:[7]

Keys rearranged into a circle of fifths in order to show the spectral relationship.
By spectrum
Colour Note
deep red F
red C
orange G
yellow D
green A
sky blue E
blue B
bright blue F
violet or purple C
lilac G
flesh D
rose A

Scriabin was a friend of Nikolai Rimsky-Korsakov, who was also a synesthete. Scriabin’s assignments of colours to keys was not the same as Rimsky-Korsakov’s perceptions, which is not an indication that Scriabin was not a synesthete as all synesthetes perceive different associations. Scriabin was also heavily influenced by Theosophy, which had its own different system of associating colors and pitches (in essence going up the visible spectrum from C to B chromatically, rather than by fifths).

See alsoEdit

ReferencesEdit

  1. ^ Henry Chapin Plummer (April 1915). “Colour Music-A New Art Created With the Aid of Science: The Colour Organ Used in Scriabine’s Symphony Prometheus“. Scientific American. Plummer describes in detail the design and technology used to produce the instrument for the colour effect prescribed by Scriabin.
  2. ^ Cummings, Robert. “Symphony No. 5 in F sharp major for piano, organ, chorus & orchestra (“Prometheus, Poem of Fire”), Op. 60″: “in the score he specifies that certain colors should flood the concert hall during performance”.
  3. ^ a b Harrison, J. (2001). Synaesthesia: The Strangest Thing. ISBN 0-19-263245-0. “In fact, there is considerable doubt about the legitimacy of Scriabin’s claim, or rather the claims made on his behalf, as we shall discuss in Chapter 5.” (p.31-2)
  4. ^ a b Galeyev, B.M. and Vanechkina, I.L. (2001). “Was Scriabin a Synesthete?”. Leonardo 34 (4): 357–362. doi:10.1162/00240940152549357. “The authors conclude that the nature of Scriabin’s ‘color-tonal’ analogies was associative, i.e. psychological; accordingly, the existing belief that Scriabin was a distinctive, unique ‘synesthete’ who really saw the sounds of music—that is, literally had an ability for ‘co-sensations’— is placed in doubt.”
  5. ^ a b Cytowic, Richard E; Eagleman, David M (2009). Wednesday Is Indigo Blue: Discovering the Brain of Synesthesia (with an afterword by Dmitri Nabokov). Cambridge: MIT Press. p. 309. ISBN 978-0-262-01279-9.
  6. ^ a b c Dann, Kevin T. (1998). Bright colors falsely seen: synaesthesia and the search for transcendental knowledge. New Haven, Conn: Yale University Press. ISBN 0-300-06619-8.
  7. ^ Saglietti, B. (2012). “Dal Clavecin Oculaire di Louis Bertrand Castel al Clavier à Lumières di Alexandr Skrjabin”. Metamorfosi dei Lumi 6: 187–205. “In Europe Skriabin met the painter Jean Delville, who suggested him to study the writings of Castel.”

External linksEdit

  • RhythmicLight.com
  • Visual Music A history of Color Organs, various mappings of tones to colors (including Scriabin’s), and other representations of music in art. Has many external links.

Water, Wind and Tide Organ

The water organ (or hydraulis).

The water organ or hydraulic organ is a kind of pipe organ. As in the pipe organ, the sound is made by air blowing through the pipes, but power to make the air blow does not come from bellows or from electricity as in the modern organ, but from water, for example from a waterfall.

A hydraulis is an early type of pipe organ that was powered by water. It was invented in the 3rd century B.C., probably by the Hellenistic scientist Ctesibius of Alexandria. It was the world’s first keyboard instrument. Many centuries later it developed into the modern pipe organ.

A modern reconstruction of the wind organ and wind wheel of Heron of Alexandria

The water organ works by having water and air arriving together in the camera aeolis (wind chamber). Here, water and air separate and the compressed air is driven into a wind-trunk on top of the camera aeolis, to blow the organ pipes. Two perforated ‘splash plates’ or ‘diaphragms’ stop the water spray from getting into the organ pipes.

The water, having been separated from the air, leaves the camera aeolis at the same speed as it enters. It then drives a water wheel, which in turn drives the musical cylinder and the movements attached. To start the organ, the tap above the entry pipe is turned on and, given a continuous flow of water, the organ plays until the tap is closed again.

During the Renaissance many Italian gardens had water organs. The most famous water organ of the 16th century was at the Villa d’Este in Tivoli. It was about 6 metres high and was powered by a beautiful waterfall. It could play three pieces automatically, but there was also a keyboard.

 

Singing Ringing Tree (Panopticons)

 

Singing Ringing Tree
Singing Ringing Tree Stitch.jpg

Singing Ringing Tree is located in the Borough of Burnley

Singing Ringing Tree
Singing Ringing Tree
Location in the Borough of Burnley
Artist Mike Tonkin and Anna Liu
Year 2006
Dimensions 3 m (9.8 ft)
53°45′23.90″N 2°13′37.99″WCoordinates: 53°45′23.90″N 2°13′37.99″W

The Singing Ringing Tree is a wind poweredsound sculpture resembling a tree set in the landscape of the Pennine hill range overlooking Burnley, in Lancashire, England.

Completed in 2006, it is part of the series of four sculptures within the Panopticons arts and regeneration project created by the East Lancashire Environmental Arts Network (ELEAN). The project was set up to erect a series of 21st-century landmarks, or Panopticons (structures providing a comprehensive view), across East Lancashire as symbols of the renaissance of the area.

Designed by architects Mike Tonkin and Anna Liu of Tonkin Liu, the Singing Ringing Tree is a 3-metre tall construction comprising pipes of galvanised steel which harness the energy of the wind to produce a slightly discordant and penetrating choral sound covering a range of several octaves. Some of the pipes are primarily structural and aesthetic elements, while others have been cut across their width enabling the sound. The harmonic and singing qualities of the tree were produced by tuning the pipes according to their length by adding holes to the underside of each.

In 2007, the sculpture won (along with 13 other candidates) the National Award of the Royal Institute of British Architects (RIBA) for architectural excellence……

See also

References

 

Aeolus at The Eden Project – Acustic Wind Pavilion

Korg Kaossilator Pro+

The Kaossilator series was the forerunner of unique instruments that made it easy for anyone to play musical melodies and phrases. The KAOSSILATOR PRO, which appeared in 2010, was an updated model featuring a rich variety of sounds and loop recording functionality that made it not merely a live performance instrument, but also a track-making tool.
2013 brings us to the upgraded KAOSSILATOR PRO+. With additional new sound programs and drum sounds KAOSSILATOR PRO+ has been supercharged to offer even more variety and exploration. A synthesizer that lets you perform and create multi-layered music in any style with just the touch of a finger.

  • KAOSSILATOR PRO+
  • KAOSSILATOR PRO+
  • KAOSSILATOR PRO+
  • KAOSSILATOR PRO+
  • KAOSSILATOR PRO +
  • Freely playable synthesizer; simply touch the touchpad to play notes and manipulate sounds in real time
  • A total of 250 sound programs (including drum programs) cover a wide range of styles, including 62 new programs
  • Loop Recording function allows intuitive performance and recording, and 4 infinitely stackable loop banks are available
  • Numerous functions for unlimited performance possibilities
    – Scale/Key settings make it easy for anyone to perform with no wrong notes
    – Note Range function lets you specify the horizontal pitch range of the touchpad
    – Gate Arpeggiator function allows you to easily control phrases with the slider
    – Pad LEDs ensure excellent visibility even in the dark
  • Highly expandable
    -USB MIDI allows use as a powerful MIDI controller
    -Store recorded loop data and even externally made. WAV files on an SD/SDHC card
    -Dedicated editor software for centralized management of sample data and settings

– See more at: http://www.korg.com/us/products/dj/kaossilator_pro_plus/#sthash.ry1HqTYq.dpuf

 

Source: http://www.korg.com/us/products/dj/kaossilator_pro_plus/

Anarchestra

If you’re interested in handmade and experimental musical instruments, I’d suggest finding a copy of Gravikords, Whirlies & Pyrophones (and also the follow-up, Orbitones, Spoon Harps & Bellowphones).  It’s a book/CD combo written by Bart Hopkin, the publisher of Experimental Musical Instruments magazine and an avant-garde musician himself.  Bart Hopkin is awesome, his book Musical Instrument Design is what got Anarchestra started in the first place.