Electronic musical instrument
An electronic musical instrument or electrophone is a
An electronic instrument might include a
All electronic musical instruments can be viewed as a subset of audio signal processing applications. Simple electronic musical instruments are sometimes called sound effects; the border between sound effects and actual musical instruments is often unclear.
In the 21st century, electronic musical instruments are now widely used in most styles of music. In popular music styles such as
Classification
In musicology, electronic musical instruments are known as electrophones. Electrophones are the fifth category of musical instrument under the Hornbostel-Sachs system. Musicologists typically only classify music as electrophones if the sound is initially produced by electricity, excluding electronically controlled acoustic instruments such as pipe organs and amplified instruments such as electric guitars.
The category was added to the
- 51=electrically acoustic instruments (e.g., pipe organ with electronic tracker action)
- 52=electrically amplified acoustic instruments (e.g., acoustic guitar with pickup)
- 53=instruments which make sound primarily by way of electrically driven oscillators
The last category included instruments such as theremins or synthesizers, which he called radioelectric instruments.
Francis William Galpin provided such a group in his own classification system, which is closer to Mahillon than Sachs-Hornbostel. For example, in Galpin's 1937 book A Textbook of European Musical Instruments, he lists electrophones with three second-level divisions for sound generation ("by oscillation", "electro-magnetic", and "electro-static"), as well as third-level and fourth-level categories based on the control method.[2]
Present-day
Early examples
In the 18th-century, musicians and composers adapted a number of acoustic instruments to exploit the novelty of electricity. Thus, in the broadest sense, the first electrified musical instrument was the Denis d'or keyboard, dating from 1753, followed shortly by the clavecin électrique by the Frenchman Jean-Baptiste de Laborde in 1761. The Denis d'or consisted of a keyboard instrument of over 700 strings, electrified temporarily to enhance sonic qualities. The clavecin électrique was a keyboard instrument with plectra (picks) activated electrically. However, neither instrument used electricity as a sound source.
The first electric synthesizer was invented in 1876 by Elisha Gray.[5][6] The "Musical Telegraph" was a chance by-product of his telephone technology when Gray discovered that he could control sound from a self-vibrating electromagnetic circuit and so invented a basic oscillator. The Musical Telegraph used steel reeds oscillated by electromagnets and transmitted over a telephone line. Gray also built a simple loudspeaker device into later models, which consisted of a diaphragm vibrating in a magnetic field.
A significant invention, which later had a profound effect on electronic music, was the
Hugh Le Caine, John Hanert, Raymond Scott, composer Percy Grainger (with Burnett Cross), and others built a variety of automated electronic-music controllers during the late 1940s and 1950s. In 1959 Daphne Oram produced a novel method of synthesis, her "Oramics" technique, driven by drawings on a 35 mm film strip; it was used for a number of years at the BBC Radiophonic Workshop.[9] This workshop was also responsible for the theme to the TV series Doctor Who a piece, largely created by Delia Derbyshire, that more than any other ensured the popularity of electronic music in the UK.
Telharmonium
In 1897 Thaddeus Cahill patented an instrument called the Telharmonium (or Teleharmonium, also known as the Dynamaphone). Using tonewheels to generate musical sounds as electrical signals by additive synthesis, it was capable of producing any combination of notes and overtones, at any dynamic level. This technology was later used to design the Hammond organ. Between 1901 and 1910 Cahill had three progressively larger and more complex versions made, the first weighing seven tons, the last in excess of 200 tons. Portability was managed only by rail and with the use of thirty boxcars. By 1912, public interest had waned, and Cahill's enterprise was bankrupt.[10]
Theremin
Another development, which aroused the interest of many composers, occurred in 1919–1920. In Leningrad, Leon Theremin built and demonstrated his Etherophone, which was later renamed the Theremin. This led to the first compositions for electronic instruments, as opposed to noisemakers and re-purposed machines. The Theremin was notable for being the first musical instrument played without touching it. In 1929, Joseph Schillinger composed First Airphonic Suite for Theremin and Orchestra, premièred with the Cleveland Orchestra with Leon Theremin as soloist. The next year Henry Cowell commissioned Theremin to create the first electronic rhythm machine, called the Rhythmicon. Cowell wrote some compositions for it, which he and Schillinger premiered in 1932.
Ondes Martenot
The ondes Martenot is played with a keyboard or by moving a ring along a wire, creating "wavering" sounds similar to a theremin.[11] It was invented in 1928 by the French cellist Maurice Martenot, who was inspired by the accidental overlaps of tones between military radio oscillators, and wanted to create an instrument with the expressiveness of the cello.[11][12]
The French composer Olivier Messiaen used the ondes Martenot in pieces such as his 1949 symphony Turangalîla-Symphonie, and his sister-in-law Jeanne Loriod was a celebrated player.[13] It appears in numerous film and television soundtracks, particularly science fiction and horror films.[14] Contemporary users of the ondes Martenot include Tom Waits, Daft Punk and the Radiohead guitarist Jonny Greenwood.[15]
Trautonium
The Trautonium was invented in 1928. It was based on the
Hammond organ and Novachord
In 1929
The first commercially manufactured synthesizer was the
Analogue synthesis 1950–1980
The most commonly used electronic instruments are
Modular synthesizers
In the 1960s synthesizers were still usually confined to studios due to their size. They were usually modular in design, their stand-alone signal sources and processors connected with patch cords or by other means and controlled by a common controlling device.
Integrated synthesizers
In 1970, Moog designed the Minimoog, a non-modular synthesizer with a built-in keyboard. The analogue circuits were interconnected with switches in a simplified arrangement called "normalization." Though less flexible than a modular design, normalization made the instrument more portable and easier to use. The Minimoog sold 12,000 units.[19] Further standardized the design of subsequent synthesizers with its integrated keyboard, pitch and modulation wheels and VCO->VCF->VCA signal flow. It has become celebrated for its "fat" sound—and its tuning problems. Miniaturized solid-state components allowed synthesizers to become self-contained, portable instruments that soon appeared in live performance and quickly became widely used in popular music and electronic art music.[20]
Polyphony
Many early analog synthesizers were monophonic, producing only one tone at a time. Popular monophonic synthesizers include the Moog
By 1976 affordable polyphonic synthesizers began to appear, such as the Yamaha CS-50, CS-60 and
For the first time, musicians had a practical polyphonic synthesizer that could save all knob settings in computer memory and recall them at the touch of a button. The Prophet-5's design paradigm became a new standard, slowly pushing out more complex and recondite modular designs.Tape recording
In 1935, another significant development was made in Germany. Allgemeine Elektricitäts Gesellschaft (AEG) demonstrated the first commercially produced
The term "electronic music" (which first came into use during the 1930s) came to include the tape recorder as an essential element: "electronically produced sounds recorded on tape and arranged by the composer to form a musical composition".[25] It was also indispensable to Musique concrète.
Tape also gave rise to the first, analogue, sample-playback keyboards, the Chamberlin and its more famous successor the Mellotron, an electro-mechanical, polyphonic keyboard originally developed and built in Birmingham, England in the early 1960s.
Sound sequencer
During the 1940s–1960s,
Digital era 1980–2000
Digital synthesis
The first
The DX series was not easy to program but offered a detailed, percussive sound that led to the demise of the electro-mechanical Rhodes piano, which was heavier and larger than a DX synth. Following the success of FM synthesis Yamaha signed a contract with Stanford University in 1989 to develop digital waveguide synthesis, leading to the first commercial physical modeling synthesizer, Yamaha's VL-1, in 1994.[32] The DX-7 was affordable enough for amateurs and young bands to buy, unlike the costly synthesizers of previous generations, which were mainly used by top professionals.
Sampling
The Fairlight CMI (Computer Musical Instrument), the first polyphonic digital sampler, was the harbinger of sample-based synthesizers.[33] Designed in 1978 by Peter Vogel and Kim Ryrie and based on a dual microprocessor computer designed by Tony Furse in Sydney, Australia, the Fairlight CMI gave musicians the ability to modify volume, attack, decay, and use special effects like vibrato. Sample waveforms could be displayed on-screen and modified using a light pen.[34] The Synclavier from New England Digital was a similar system.[35] Jon Appleton (with Jones and Alonso) invented the Dartmouth Digital Synthesizer, later to become the New England Digital Corp's Synclavier. The Kurzweil K250, first produced in 1983, was also a successful polyphonic digital music synthesizer,[36] noted for its ability to reproduce several instruments synchronously and having a velocity-sensitive keyboard.[37]
Computer music
An important new development was the advent of computers for the purpose of composing music, as opposed to manipulating or creating sounds.
The impact of computers continued in 1956.
In 1957,
In mid 80s,
control, bringing algorithmic composition availability to most composers with modest computer programming background.MIDI
In 1980, a group of musicians and music merchants met to standardize an interface by which new instruments could communicate control instructions with other instruments and the prevalent microcomputer. This standard was dubbed MIDI (
The advent of MIDI technology allows a single keystroke, control wheel motion, pedal movement, or command from a microcomputer to activate every device in the studio remotely and in synchrony, with each device responding according to conditions predetermined by the composer.
MIDI instruments and software made powerful control of sophisticated instruments easily affordable by many studios and individuals. Acoustic sounds became reintegrated into studios via sampling and sampled-ROM-based instruments.
Modern electronic musical instruments
The increasing power and decreasing cost of sound-generating electronics (and especially of the personal computer), combined with the standardization of the MIDI and Open Sound Control musical performance description languages, has facilitated the separation of musical instruments into music controllers and music synthesizers.
By far the most common musical controller is the
Reactable
The Reactable is a round translucent table with a
Percussa AudioCubes
AudioCubes are autonomous wireless cubes powered by an internal computer system and rechargeable battery. They have internal RGB lighting, and are capable of detecting each other's location, orientation and distance. The cubes can also detect distances to the user's hands and fingers. Through interaction with the cubes, a variety of music and sound software can be operated. AudioCubes have applications in sound design, music production, DJing and live performance.
Kaossilator
The Kaossilator and Kaossilator Pro are compact instruments where the position of a finger on the touch pad controls two note-characteristics; usually the pitch is changed with a left-right motion and the tonal property, filter or other parameter changes with an up-down motion. The touch pad can be set to different musical scales and keys. The instrument can record a repeating loop of adjustable length, set to any tempo, and new loops of sound can be layered on top of existing ones. This lends itself to electronic dance-music but is more limited for controlled sequences of notes, as the pad on a regular Kaossilator is featureless.
Eigenharp
The Eigenharp is a large instrument resembling a bassoon, which can be interacted with through big buttons, a drum sequencer and a mouthpiece. The sound processing is done on a separate computer.
AlphaSphere
The AlphaSphere is a spherical instrument that consists of 48 tactile pads that respond to pressure as well as touch. Custom software allows the pads to be indefinitely programmed individually or by groups in terms of function, note, and pressure parameter among many other settings. The primary concept of the AlphaSphere is to increase the level of expression available to electronic musicians, by allowing for the playing style of a musical instrument.
Chip music
Chiptune, chipmusic, or chip music is music written in sound formats where many of the sound textures are synthesized or sequenced in real time by a computer or video game console sound chip, sometimes including sample-based synthesis and low bit sample playback. Many chip music devices featured synthesizers in tandem with low rate sample playback.
DIY culture
During the late 1970s and early 1980s,
Circuit bending
In 1966, Reed Ghazala discovered and began to teach math "circuit bending"—the application of the creative short circuit, a process of chance short-circuiting, creating experimental electronic instruments, exploring sonic elements mainly of timbre and with less regard to pitch or rhythm, and influenced by John Cage’s aleatoric music concept.[41]
Much of this manipulation of circuits directly, especially to the point of destruction, was pioneered by
Modern
Modular synthesizers
The modular synthesizer is a type of synthesizer consisting of separate interchangeable modules. These are also available as kits for hobbyist DIY constructors. Many hobbyist designers also make available bare PCB boards and front panels for sale to other hobbyists.
See also
Technologies
Individual instruments (modern)
In Indian and Asian traditional music
References
- ^ Galpin, Francis William (1940), The History of Musical Instruments
- ^ Galpin, Francis William (1937), A Textbook of European Musical Instruments
- ^ Kartomi, Margaret (1990), On Concepts and Classifications of Musical Instruments
- ^ Ellingson, Terry (1979), PhD dissertation
- ^ Electronic Musical Instrument 1870 - 1990, 2005, archived from the original on 2007-05-02, retrieved 2007-04-09
- ^ a b Chadabe, Joel (February 2000), The Electronic Century Part I: Beginnings, Electronic Musician, pp. 74–89, archived from the original on 2011-04-07, retrieved 2011-03-02
- Keyboard Magazine, p. 120
- ^ All the preceding instruments except those of Darreg and Murzin described in P. Scholes, The Oxford Companion to Music, 10th Ed. OUP, p.322
- ISBN 0-19-514484-8
- ISBN 9780810826922.
- ^ a b McNamee, David (12 October 2009). "Hey, What's That Sound: Ondes Martenot". The Guardian. Retrieved 7 September 2018.
- ^ Jean Laurendeau: Maurice Martenot: Luthier de l'Electronique (Dervy Livres, 1996)
- New York Times. Retrieved 25 July 2018.
- ^ Loriod 1987, vol. I p. VIBattaglia, Andy (6 March 2014). "Ondes Martenot: An Introduction". Red Bull Music Academy. Retrieved 25 July 2018.
- ^ Battaglia, Andy (6 March 2014). "Ondes Martenot: An Introduction". Red Bull Music Academy. Retrieved 25 July 2018.
- ^ Russcol 1972, 70.
- Keyboard Magazine, p. 108
- ISBN 0-252-02582-2
- ^ 1970 Robert Moog Moog Music Minimoog Synthesizer, Mix Magazine, September 1, 2006, archived from the original on 27 July 2018
- ^ Montanaro, Larisa Katherine (May 2004). "A Singer's Guide to Performing Works for Voice and Electronics, PhD thesis Doctor of Musical Arts" (PDF). The University of Texas at Austin. Archived from the original (PDF) on 2008-09-11. Retrieved 2008-06-28.
In 1969, a portable version of the studio Moog, called the Minimoog, became the most widely used synthesizer in both popular music and electronic art music
- ISBN 2-88479-037-3
- ^ "Mellotron Mark VI (1999-) Images". Mellotron (Canada). — Note: It has a speed selector switch on the red logo.
- ^
"Streetly Mellotron M4000". Sound on Sound (October 2007).
Mellotron M4000's control panel identical to the M400's, aside from the addition of four buttons and an LED display to operate the cycling mechanism.
- ^
"Digital Mellotron M4000D". Mellotron (Canada).
The front panel user interface has 2 TFT-displays of high quality and are capable of showing pictures of the actual instruments.
- ^ "Definition of electronic music | Dictionary.com". www.dictionary.com. Retrieved 2023-02-04.
- ^ Chowning, John M. (September 1973). "The Synthesis of Complex Audio Spectra by Means of Frequency Modulation" (PDF). Journal of the Audio Engineering Society. 21 (7): 526–534.
- PC Magazine. p. 232.
- ^ "Yamaha GS1 & DX1". Sound on Sound. June 2001. Archived from the original on 2007-09-29. Retrieved 2008-04-10.
- ISBN 0-7546-4450-2
- ^ Three Yamaha Products That Reshaped the Industry Mark 20th Anniversary, Music Trades, February 2004, pp. 70–74, archived from the original on 2008-10-19
- ISBN 0-918371-08-2
- ISBN 0-87930-752-8
- Keyboard Magazine, p. 104
- ^ Scott, David (May 1984), Music computer - you draw sounds you want to hear, Popular Science, p. 154
- ^ 1979 Fairlight CMI, Mix Magazine, September 1, 2006, archived from the original on May 3, 2008, retrieved 2008-05-30
- ISBN 0-87930-830-3
- Computers & Electronics. Ziff Davis. pp. 42–43.
- ISBN 9780275537302.
- ^ Ozab, David (2000). "Beyond the Barline". ATPM.
- ^ "The BodySynth". Archived from the original on 2016-03-03.
- ^ Yabsley, Alex (2007-08-08). "Back to the 8 bit: A Study of Electronic Music Counter-culture". Game Music 4 All.
This element of embracing errors is at the centre of Circuit Bending, it is about creating sounds that are not supposed to happen and not supposed to be heard (Gard, 2004). In terms of musicality, as with electronic art music, it is primarily concerned with timbre and takes little regard of pitch and rhythm in a classical sense. ... . In a similar vein to Cage's aleatoric music, the art of Bending is dependent on chance, when a person prepares to bend they have no idea of the final outcome.
Works cited
- Loriod, Jeanne (1987). Technique de l'onde electronique type martenot. Paris: Alphonse Leduc. ISMN979-0-04-626275-3.
External links
- 120 Years of Electronic Music
- A chronology of computer and electronic music (including instruments) Archived 2017-02-28 at the Wayback Machine
- History of Electronic Music (French)
- Tons of Tones !! : Site with technical data on Electronic Modelling of Musical Tones Archived 2011-08-31 at the Wayback Machine
DIY
- DIY Hardware and Software Discussion forum at Electro-music.com
- The Synth-DIY email list
- Music From Outer Space Archived 2006-01-11 at the Wayback Machine Information and parts to self-build a synthesizer.
- Synthesizer do it yourself a wiki about DIY electronic musical instruments
Museums and collections
- Horniman Museum's music gallery, London, UK. Has one or two synths behind glass.
- Moogseum, Asheville, North Carolina, US
- Musical Museum, Brentford, London, UK. Mostly electro-mechanical instruments.
- Musical Instrument Museum, Phoenix, Arizona, US
- Staatliches Institut für Musikforschung, Berlin, Germany
- Swiss Museum & Center for Electronic Music Instruments
- The National Music Centre Collection, Canada
- Vintage Synthesizer Museum, California, US
- Washington And Lee University Synthesizer Museum Archived 2018-08-15 at the Wayback Machine, Washington, US