An Electronic Music Studio for the Independent Composer (1964)

Mumma, Gordon

doi:10.7202/038261ar

Cited by 3 publications

(2 citation statements)

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“…By the early 1960s many other electronic music studios centred around tape-based processes had been established in addition to the Groupe de Recherches Musicales (GRM) in Paris and WDR in Cologne, including the Institute for Psychoacoustics and Electronic Music (IPEM) in Ghent, Studio for Electronic Music (STEM) based in Utrecht, Columbia-Princeton Electronic Music Center in New York, Experimental Music Studios at the University of Illinois, Experimental Music Studios at the University of Toronto (Schaeffer 1963) and many more. In addition to the larger public and university-based studios, private facilities began to be established by individuals and collectives, including Robert Ashley's Cooperative Studio for Electronic Music (Mumma 1964) in Ann Arbor, Louis and Bebe Barron's studio in New York (Powers 1997) and the San Francisco Tape Music Studio (Bernstein 2008).…”

Section: Coming From Tape Musicmentioning

confidence: 99%

Unstable Structure: The improvising modular synthesiser

White

2022

Org. Sound

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The desire to work in real time and improvise with the possibilities of tape-based studio practice was a key design intention of early modular synthesisers. The resulting instruments, in particular the Buchla, emphasised possibilities for the creation of musical structure in combination with components designed to enable real-time, expressive interaction. As smaller, keyboard-based synthesiser instruments achieved broad commercial success, many of the possibilities for the real-time creation and manipulation of musical structures, developed in the larger modular synthesiser designs, were not carried forward into the new age of commercial electronic music instruments. The resurgence of the modular synthesiser has seen these possibilities for improvisation of musical structures revisited, opening up processes and approaches that were almost lost to a new generation. Following an analysis of the genesis of modular synthesisers, with a focus on the Buchla, this article describes three examples of modular synthesiser-based compositional processes that enable the performer to undertake improvised actions in real time that construct, influence and distort musical structure. These examples are then analysed to better understand the processes, motivations and experiences of using a modular synthesiser to construct musical structure in a real-time and improvised fashion.

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Section: Coming From Tape Musicmentioning

confidence: 99%

Unstable Structure: The improvising modular synthesiser

White

2022

Org. Sound

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“…Le savoir-faire de Mumma est tel qu'il publie un article en 1964 dans la principale publication américaine consacrée à l'ingénierie du son, le Journal of the Audio Engineering Society (Mumma 1964). Une relecture éclaire l'approche de la musique électronique préconisée par le compositeur.…”

Section: Contexteunclassified

La migration numérique d’une oeuvre pionnière avec live electronics. Mesa (1966) de Gordon Mumma

Goldman¹,

Lecavalier²,

Pelz³

2020

rmo

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La migration numérique d'une oeuvre pionnière avec live electronics. Mesa (1966) de Gordon Mumma Jonathan Goldman, avec le concours de Francis Lecavalier et Ofer Pelz Résumé Cet article résume les retombées d'un projet de reconstruction d'une oeuvre pionnière de live electronics, à savoir Mesa (1966) du compositeur étatsunien Gordon Mumma (né en 1935). Une reconstruction de cette oeuvre a été présentée dans le cadre du festival Montréal/Nouvelles Musiques le 27 février 2017 par l'auteur et les collaborateurs de cet article : Jonathan Goldman au bandonéon, Francis Lecavalier à la conception informatique, et Ofer Pelz à l'interprétation de la partie électronique. Au cours de cette « migration », l'oeuvre, fondamentalement analogique, a été reconçue pour un équipement numérique contemporain avec le consentement du compositeur. S'inscrivant nettement dans la lignée de l'École de New York cageienne, Mesa revêt un statut ontologique curieux : elle est le produit d'une indétermination passablement radicale. Comme c'est le cas pour l'oeuvre de Cage, Mesa et sa reconstruction numérique nous force à repenser l'ontologie et l'épistémologie de l'oeuvre musicale.

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The Buttons on Pandora’s Box: David Tudor and the Bandoneon

Goldman¹

2012

American Music

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An Electronic Music Studio for the Independent Composer (1964)

Cited by 3 publications

References 0 publications

Unstable Structure: The improvising modular synthesiser

Unstable Structure: The improvising modular synthesiser

La migration numérique d’une oeuvre pionnière avec live electronics. Mesa (1966) de Gordon Mumma

The Buttons on Pandora’s Box: David Tudor and the Bandoneon

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