Historical Electroacoustic Devices

Sound Production and Manipulation [SPM]  >  Electroacoustic Devices  ]

This term represents a collection of devices that have been proven significant in terms of the evolution of the field. Although of great interest and significance to the development of electroacoustic music, the present form of this glossary has not attempted to provide a comprehensive list of individual ’early’ devices.

(Bibliographical references and hypertext links will be supplied in this area during future development phases of the EARS resource).



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Asuar, José Vicente (1980). Un sistema para hacer musica con un Microcomputador (A music-making system using a Microcomputer)
Baird, Bridget, Blevins, Donald, Zahler, Noel (1993). Artificial Intelligence and Music: Implementing an Interactive Computer Performer
Battier, Marc (2003d). Laboratoires
Berk, Mike (2000). Analog Fetishists and Digital Futures
BERMÚDEZ COSTA, Juan (1977). Nueva Generación de Instrumentos Musicales Electrónicos (The new generation of electronic music instruments)
Boucourechliev, André (1960). La musique électronique
Boulanger, Richard (1990). Conducting the MIDI Orchestra, Part 1: Interviews with Max Matthews, Barry Vercoe, and Roger Dannenberg
Chion, Michel (2000). Comment tourner autour d’un objet sonore
CLARK Jr., Melville (1959). Ein neues Musikinstrument (A new musical instrument)
Clozier, Christian (1981). The Gmebaphone Sound Diffusion Instrument
Couprie, Pierre (2000). Pierre Schaeffer
Cross, Lowell (1999). {Reunion}: John Cage, Marcel Duchamp, Electronic Music and Chess
Dal Farra, Ricardo (2006a). A Journey of Sound through the Electroacoustic Wires. Art and New Technologies in Latin America (Un voyage du son par les fils électroacoustiques : L’art et les nouvelles technologies en Amérique Latine)
Davies, Hugh (1992). New Musical Instruments in the Computer Age: Amplified Performance Systems and Related Examples of Low-level Technology
Davies, Hugh (1996a). A History of Sampling
Divilbiss, J. L. (1964). The Real-Time Generation of Music with a Digital Computer
DONHAUSER, Peter (2007). Elektrische Klangmaschinen. Die Pionierzeit in Deutschland und Österreich. (Electric Sound Machines: The pioneering epoch in Germany and Austria)
Ellis, Phil (1992). Design with Sound: Control of MIDI Information Through Gesture
Fedorkow, Guy, Buxton, William, Smith, K.C. (1978). A Computer-Controlled Sound Distribution System for the performance of Electroacoustic Music
Ford, Peter (1963). History of Sound Recording: The Evolution of Magnetic Recording
Galeyev, Bulat M. (1996). Light and Shadows of a Great Life: In Commemoration of the One-Hundredth Anniversary of the Birth of Leon Theremin, Pioneer of Electronic Art
Geslin, Yann (2001). Le studio 123
Geslin, Yann (2002). Digital Sound and Music Transformation Environments: A Twenty-year Experiment at the “Groupe de Recherches Musicales”
HEISS, Hermann (1960). Spezialaufnahmeaggregat für Tongemische (Record-and-Playback Heads for Tone Mixtures)
Howe, Hubert S. (1966). Music and Electronics: A Report
Howe, Hubert S. (1972). Compositional Limitations of Electronic Music Synthesizers
Humpert, Hans Ulrich (2004). L’évolution technologique de la musique électronique au cours des 50 dernières années et son influence sur le travail du compositeur
Jones, Stephen (2004). Philippa Cullen: Dancing the Music
Kavina, Lydia (1996). My Experience with the Theremin
Koblyakov, Lev (1992). Score/Music Orientation: An Interview with Robert Rowe
Krefeld, Volker (1990). The Hand in the Web: An Interview with Michel Waisvisz
Leipp, Émile (1968). La musique expérimentale au laboratoire d’acoustique
Lewin-Richter, Andrés, Lanza, Alcides (2002). On Hugh Le Caine
LOCATELLI DE PÉRGAMO, Ana María (1973). La notación de la música contemporánea (The notation of contemporary music)
Lohner, Henning (1986a). The UPIC System: A User’s Report
Lohner, Henning (1986b). Interview with Iannis Xenakis
Mâche, François-Bernard (1959). Historique des recherches de musique concrète
Malsky, Matthew (2003). Stretched from Manhattan’s Back Alley to MOMA: A Social History of Magnetic Tape Recording
Marrin, Teresa, Picard, Rosalind (1998). The “Conductors Jacket”: A Device for Recording Expressive Musical Gestures
Mathews, Max V. (1991). The Radio Baton and Conductor Program, or: Pitch, the Most Important and Least Expressive Part of Music
MIERSCH, Manfred (2003). Subharchord
Moles, Abraham A. (1959). Instrumentation électronique et musique expérimentales
Montague, Stephen (1994). Rediscovering Leon Theremin
Mumma, Gordon (1975). Live-Electronic Music
Nesturkh, Natalia (1996). The Theremin and Its Inventor in Twentieth-Century Russia
Orton, Richard (1992). Musical, Cultural and Educational Implications of Digital Technology
Palombini, Carlos (2000). The Brazilian Group for Computer Music Research: A Proto-History
Paradiso, Joseph (1998). Electronic Music Interfaces
Peignot, Jérôme (1960). De la musique concrète à l’acousmatique
Poullin, Jacques (1957). Son et espace
Poullin, Jacques (1999). L’apport des techniques d’enregistrement dans la fabrication de matières et de formes musicales nouvelles. Application à la musique concrète
Radovanovic, Vladan (1974). The Radio Belgrade Electronic Studio
Risset, Jean-Claude (1999c). Évolution des outils de création sonore
Risset, Jean-Claude (1999d). Nouveaux gestes musicaux : quelques points de repère historique
Roads, Curtis (1980c). Interview with Max Matthews
Roads, Curtis (1986b). The Tsukaba Musical Robot
ROADS, Curtis (1986c). Ricerche sulla musica e l’intelligenza artificiale (Musical research and artificial intelligence)
Roads, Curtis (1992a). Composition with Machines
Roads, Curtis (1996a). Early Electronic Music Instruments: Time Line 1899-1950
Schaeffer, Myron (1963). The Electronic Music Studio of the University of Toronto


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