Sound-Generation by means of a Digital Computer

Tenney, James

doi:10.2307/843021

Cited by 22 publications

(6 citation statements)

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“…The experiments discussed by James Tenney (Tenney, 1963; are fully replicable. By following the explanations and flowcharts, it is possible to reconstruct the proposed designs on a modern system such as Csound.…”

Section: Reconstruction Of Tenney's Modulation Testbedmentioning

confidence: 69%

“…These processes are key features of musical ecosystems. Two foundational texts of computer music (Tenney, 1963; document examples of the design of computational instruments through a musical approach to sound-synthesis techniques; pieces such as Little Boy provide another instance of the application of this knowledge. This conceptual and methodological perspective has triggered a body of qualitative changes in the practices of music creation and sharing with profound implications for technological design.…”

Section: Design In Early Computer Musicmentioning

confidence: 99%

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Issues of ubiquitous music archaeology: Shared knowledge, simulation, terseness, and ambiguity in early computer music

Lazzarini

Keller

Radivojević

2023

Front. Signal Process.

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The reconstruction of tools and artworks belonging to the origins of music computing unveils the dynamics of distributed knowledge underlying some of the major breakthroughs that took place during the analogue-digital transition of the 1950s and 1960s. We document the implementation of two musical replicas, the Computer Suite for Little Boy and For Ann (Rising). Our archaeological ubiquitous-music methods yield fresh insights on both convergences and contradictions implicit in the creation of cutting-edge technologies, pointing to design qualities such as terseness and ambiguity. Through new renditions of historically significant artefacts, enabled by the recovery of artistic first-hand sources and of one of the early computer music environments, MUSIC V, we explore the emergence of exploratory simulations of new musical worlds.

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Section: Reconstruction Of Tenney's Modulation Testbedmentioning

confidence: 69%

Section: Design In Early Computer Musicmentioning

confidence: 99%

Issues of ubiquitous music archaeology: Shared knowledge, simulation, terseness, and ambiguity in early computer music

Lazzarini

Keller

Radivojević

2023

Front. Signal Process.

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show abstract

“…In Tenney (1969), the composer himself published analyses of these works and an account of his time at Bell Labs. Technical aspects of the research that Tenney conducted while there on sound synthesis and the modeling of instrumental timbres appears in Tenney (1963), which is one of the very first publications regarding computerized sound synthesis directed towards musicians, while some of his conclusions regarding the physical correlates of timbre are collected in Tenney (1965).…”

Section: Notesmentioning

confidence: 99%

The spectral music of James Tenney

Wannamaker¹

2008

Contemporary Music Review

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“…In the early days of electronic and digital music production, specialised sound laboratories and radio studios explored the use of analogue electrical circuitry (Olson and Belar 1955) or digital computers (Tenney 1963) to synthesise sounds. One of the consequences of this approach was that sound production became detached from real-time (inter)actions and the bodily control of human performers.…”

Section: Some Historical and Theoretical Considerations Concerning Digitally-augmented Music Practicesmentioning

confidence: 99%

Embodied, Participatory Sense-Making in Digitally-Augmented Music Practices: Theoretical Principles and the Artistic Case “SoundBikes”

et al. 2018

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Electronic and digital technologies open immense opportunities for music composition, listening, interaction, and participation. However, at the same time, they critically challenge some of the most basic principles that drive human engagement and interaction with music. This article first presents a theoretical discussion of two of these principles, namely sensorimotor control and participatory sense-making. Thereafter, it presents SoundBikes, a music installation that implements these theoretical considerations. SoundBikes is rooted in the idea that collective music-making is a form of participatory sense-making that emerges from embodied, dynamical and collaborative interactions between co-performers. The core components of SoundBikes include an EMS Synthi 100 and two stationary bikes equipped with sensors. To stimulate social interaction and collaboration between cyclist-performers, we designed SoundBikes in a way that performers could exert control over expressive features in the playback of music compositions, by coordinating their (cycling) movements with one another. This functionality is integrated in a gameplay-to further stimulate social 2 Maes et al. Embodied, Participatory Sense-Making in Digitally-Augmented Music Practices collaboration and competition-and a visually attractive environment-to provide visual feedback and to create ambiance.

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Sound-Generation by means of a Digital Computer

Cited by 22 publications

References 0 publications

Issues of ubiquitous music archaeology: Shared knowledge, simulation, terseness, and ambiguity in early computer music

Issues of ubiquitous music archaeology: Shared knowledge, simulation, terseness, and ambiguity in early computer music

The spectral music of James Tenney

Embodied, Participatory Sense-Making in Digitally-Augmented Music Practices: Theoretical Principles and the Artistic Case “SoundBikes”

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