Elektroniske musikinstrumenter

Pionerer & outsidere – Dansk elektronisk musik 1928-1980 er den samlede fortælling om den elektroniske musiks fremkomst og opblomstring i Danmark. Historien begynder med en række koncerter i Tivoli i København med det russiske Theremin-instrument i 1928 og rundes af i 1980, hvor den elektroniske musik efterhånden er blevet en integreret del af store dele af mainstream-musikken. De mellemliggende 52 år viser en overraskende mangefacetteret historie om teknologisk og kunstnerisk udvikling drevet frem af pionerer med stor nysgerrighed over for nye musikalske produktionsmuligheder og nye klange. I bogen møder vi en række klassisk uddannede komponister som for eksempel Else Marie Pade, Jørgen Plaetner og Fuzzy, der tidligt tog den elektroniske musik til sig, men vi møder også mange ukendte amatørkomponister, der eksperimenterede med spolebåndoptagere og byggede egne instrumenter. Bogen afdækker også, hvordan den tidlige elektroniske musik manifesterede sig langt fra det traditionelle musikliv, blandt andet inden for billedkunsten, i tidlige eksperimentalfilm og i underholdningsbranchen. Her gemmer der sig historier om syngende hunde, der kom til tops på de amerikanske hitlister, om festklædte ingeniører, der dansede til computermusik sidst i 1950’erne, og elektronisk lydterapi, der gjorde patienterne døve. Historien udfoldes på baggrund af et stort reseracharbejde og inddrager interviews med komponister og et væld af datidige kilder. Gennem beskrivelser af de musikalske værker og lydeksperimenter afdækkes en væsentlig og farverig, men stort set glemt og ubeskrevet del af dansk musikhistorie.

Music Composition book for Pianists or instruments utilizing the Grand Staff and voice or instruments using treble clef. This 8.25" x 11" composition book contains 100 manuscript pages, 6 Systems of Treble and Bass for notation and composition. Black ink, printed on 60 pound (74-90 GSM) cream paper. Ideal for any pianist, song writer, musician, composers, music teachers, and music students. Codify your ideas and bring new music to life using this convenient, high-quality book. Any serious musician will appreciate the styles adapted from the most renowned music publishers. Create, collaborate, share, and enjoy the gift of music with others.

Everything you need to know about making music in one place! 2024 & Beyond!Not so long ago music production was only available to the rich and famous. However, these days it's now possible to produce professional sounding music from your own home.In fact, you don't even need to know how to play an instrument or know anything about the technology or even need expensive equipment. All you need is a decent computer and some inspiration...This book will tell you the rest! If you are a first timer it will lead you in the right direction in the least amount of time.And if you have experience you will discover new insights into how to produce your best music.Here is just a tiny fraction of what you will discover inside:Best music production, VST, DAW and software for 2024 and beyondMusic Theory explained--without needing to study for years!Common beginner mistakes and how to avoid or fix themThe hit songwriting formula-songwriting, lyrics, melody, and constructionProven guidelines on how to get your music signed and how to make moneyStudio setup-achieve pro studio quality even at homeMotivation and mental hacks (get your mental game together and your music production skills will go through the roof!)Step-by-step guide to mix and master your music (even if you're not a technical person)Advances in Technology including Artificial Intelligence for musicThriving Through Networks, Having The Right Skills and Mindset MasteryAnd much, much more...Stop wasting your time on forums, YouTube, and asking the same old questions because everything you need to know is in this book.Become the music producer you've always wanted to be and make your best music with this book.

Marking the fortieth anniversary of the duo's first release--"West End Girls"--Pet Shop Boys Volume presents the group's entire visual output to date in a contemporary literary format.

Depeche Mode's 101 is, at first glance, a curious thing: a live double-album by a synth band. A recording of its "Concert for the Masses," 101 marks the moment when doomy, cultish, electronic Depeche Mode, despite low American album sales and a lack of critical acclaim, declared they had arrived and ascended to the rare air of stadium rock. On June 18, 1988, 65,000 screaming, singing Southern Californians flocked to Pasadena's Rose Bowl to celebrate DM's coronation. The concert also revealed the power of Southern California radio station and event host KROQ, which had turned Los Angeles into DM's American stronghold through years of fervent airplay. KROQ's innovative format, which brought "new music" to its avid listeners, soon spread across the country, leading to the explosion of alternative rock in the 1990s.Eight years after its founding in Basildon, Essex, Depeche Mode, rooted in 1970s Krautrock, combined old-fashioned touring, well-crafted songs, and the steadfast support of KROQ to dominate Southern California, the United States, and then the world, kicking open the doors for the likes of Nirvana in the process. 101 is the hidden-in-plain-sight hinge of modern music history.

The Chemical Brothers emerged in the early 1990s, an electronic music duo consisting of Tom Rowlands and Ed Simons. Alongside The Prodigy and Fat Boy Slim they made the leap from the underground into the mainstream on the back of the 'big beat' genre, and the million-selling success of their debut, Exit Planet Dust. Their second album, Dig Your Own Hole went stratospheric in 1997 and they have collectively, had 6 number one albums. Their original and incredibly influential but tiny residency was at the Heavenly Social in 1994. They have collaborated with a host of internationally famous artists from Noel Gallagher to Mazzy Star and Richard Ashcroft.This is the story of the band, in their own words, and with contributions from intimate friends and collaborators. The book will be fully illustrated with photography and design work from the archives. The Chemical Brothers have headlined major festivals including Glastonbury and won six Grammys. They are unquestionably one of the biggest electronic music acts in the world today.

Als wir anfingen, ein Instrument zu lernen, waren wir neugierig und fasziniert davon. Doch nach einigen Jahren Unterricht empfinden wir Uben oft als harte Arbeit, sind unzufrieden mit dem Ergebnis oder verlieren sogar ganz die Lust am Musik machen. Mussen wir uns also mehr anstrengen, noch gewissenhafter uben? Was wir dabei vergessen: Musik ist mehr, als die richtigen Noten in der richtigen Intensitat zu spielen! Dieses Buch habe ich fur Hobby-Musiker geschrieben, die spuren das etwas nicht funktioniert, aber nicht wissen, woran das liegen konnte. Es zeigt einfache Wege, um zu einem gelingenden Lern- und Entwicklungs-Prozess bei der eigenen Musik zuruck zu finden. So konnen auch Laien-Musiker mit wahrer Freude wirkungsvolle Musik erschaffen, gleichwertig zu professionellen Interpreten. Die grundlegenden Prinzipien und praktischen Ansatze basieren auf uber zwei Jahrzehnten Erfahrung mit verschiedenen Instrumenten und Methoden zum Lernen. Sie sind kein Ersatz fur einen Lehrer, sondern eine wertvolle Erganzung zu jedem Unterricht. Mit Hilfe dieses Buches konnen die Leser ihre eigene Musik wieder richtig genieen und herausfinden, wozu sie fahig sind - und das ist weit mehr als wir bisher gedacht und gelernt haben. Andere Blickwinkel bietet das Buch auch fur Musiklehrer, die ihre Schuler begleiten und ermutigen wollen, statt sie immer effizienter zu belehren.

An Orchestra at My Fingertips is the first study of the history, activities, and legacy of the Canadian Electronic Ensemble. Covering the ensemble's first fifty years, Alexa Woloshyn features musician biographies as well as analyses of the CEE's compositions, improvisations, commissions, and performance practice.

Mit Leichtigkeit und Spaß am Klavier zu üben und die Liebsten mit wunderschönen Melodien überraschen zu können, wer träumt nicht davon? Immer mehr Musikliebhaber möchten auch nach jahrelanger Pause wieder anfangen Klavier zu spielen.In der Notenheft-Reihe "Melodies for Piano" finden Sie Kompositionen, die inspirierend schön klingen und ohne großen Aufwand erlernbar sind.Diese Reihe enthält gefühlvolle und abwechslungsreiche Melodien für Wiedereinsteiger und Fortgeschrittene, welche für ein schnelles Wiedereinfinden in das Klavierleben sorgen. Die Melodien sind mittel bis schwer arrangiert, die jedoch ad libitum verwendet werden können. Sie eignen sich sowohl für das Selbststudium als auch für den Klavierunterricht. Außerdem bieten die Hefte einen ästhetischen Anblick dank bezaubernder Aquarell-Illustrationen und stellen ein perfektes Geschenk für einen Musikbegeisterten dar.Der fünfte Band enthält zehn Kompositionen:. Contemplation. A Spark Will Burn. By the Fireplace. Easter Sunday . Gentle Look. Tailwind. Inspiration. Please Do Not Forget Me. The Last Dance. AwakeningDoesn't everybody dream of practicing and playing the piano with ease, fun and surprising the audience with beautiful melodies. More and more music-lovers like to start playing again after several years' break.In the music book series "MELODIES for PIANO", you will find easy-to-learn compositions of inspiring beauty. This series contains emotional and versatile melodies for returners as well as for advanced learners for a quick piano restart.The arrangements of the melodies are on a medium to advanced level and can be used ad libitum. They are suitable for self-study as well as for piano lessons. Thanks to charming water colors, these music books offer a very aesthetic sight and are the perfect present for every music fan. Volume 5 of the exclusive edition "MELODIES for PIANO" contains 10 compositions:. Contemplation. A Spark Will Burn. By the Fireplace. Easter Sunday . Gentle Look. Tailwind. Inspiration. Please Do Not Forget Me. The Last Dance. Awakening

Given the power vacuum that existed in Berlin in the early nineties, a sense of anarchy prevailed, and this provided a fertile breeding ground for all manner of creative people and projects. New and existing music scenes grew quickly, producing some weird and wonderful blossoms along the way. Venues didn¿t have a closing time. Parties went on all night long. Nightlife existed as a parallel world. The artists from Detroit, a city just as broken as ours, brought over a new kind of music. Tracks with no lyrics; the bpm count marked on the record like a certification. After the miracle of German reunification, everyone dreamed of making the impossible possible. Meanwhile, the Detroit artists and the new musical genre they had created were taking the first steps on a path to unimagined success. (Regina Baer)

In 1958, an anonymous group of overworked and under-budgeted BBC employees set out to make some new sounds for radio and TV. They ended up changing the course of 20th-century music. For millions of people, the work of the BBC Radiophonic Workshop was the first electronic music they had ever heard. Sampling, loops, and the earliest synthesizers-long before audiences knew what they were-made up the groundbreaking scores for news programs, auto maintenance shows, and children's programming. They also produced the Doctor Who theme, one of the first electronic music masterpieces. The Beatles, Pink Floyd, and others borrowed from them. A generation of musicians raised on BBC programming-Aphex Twin, Portishead, and Prodigy among them-took these once-alien sounds and carried on the Workshop's legacy. Ignored for decades by music historians, the Workshop is now recognized as one of the most influential forebears of electronica, psychedelia, ambient music, and synth-pop.

Peace, Love, Unity, and Respect. Cultural liberation and musical innovation. Pyrotechnics, bottle service, bass drops, and molly. Electronic dance music has been a vital force for more than three decades now, and has undergone transformation upon transformation as it has taken over the world. In this searching, lyrical account of dance music culture worldwide, Matthew Collin takes stock of its highest highs and lowest lows across its global trajectory. Through firsthand reportage and interviews with clubbers and DJs, Collin documents the itinerant musical form from its underground beginnings in New York, Chicago, and Detroit in the 1980s, to its explosions in Ibiza and Berlin, to today's mainstream music scenes in new frontiers like Las Vegas, Shanghai, and Dubai. Collin shows how its dizzying array of genres--from house, techno, and garage to drum and bass, dubstep, and psytrance--have given voice to locally specific struggles. For so many people in so many different places, electronic dance music has been caught up in the search for free cultural space: forming the soundtrack to liberation for South African youth after Apartheid; inspiring a psychedelic party culture in Israel; offering fleeting escape from--and at times into--corporatization in China; and even undergirding a veritable "independent republic" in a politically contested slice of the former Soviet Union. Full of admiration for the possibilities the music has opened up all over the world, Collin also unflinchingly probes where this utopianism has fallen short, whether the culture maintains its liberating possibilities today, and where it might go in the future.

Source: Wikipedia. Pages: 34. Chapters: Synthesiser modules, Low-pass filter, Digital filter, Music sequencer, High-pass filter, Modular synthesizer, Band-pass filter, Voltage-controlled oscillator, Buchla 200e, Moog modular synthesizer, Variable-gain amplifier, Synthesizers.com, Buchla 200 series Electric Music Box, Low-frequency oscillation, Analog sequencer, Voltage-controlled filter, Band-stop filter, ARP 2500, Roland System 100, MOTM, Serge synthesizer, CreamwareAudio Modular III, Roland System-100M, Doepfer A-100, RS Integrator. Excerpt: The Buchla 200e is a modular synthesizer designed by electronic music pioneer Don Buchla and built by Buchla and Associates. The 200e is based on the earlier Model 200 system. Many of the modules in the 200e series share similar functionality and layout with Model 200 modules, and therefore have similar names. However, all of the e series modules have the ability to store and recall parameters set by the user. Another new feature the 200e adds is MIDI implementation via the 225e MIDI Decoder module. This allows 200e modules to respond to MIDI note, velocity, and controller data via internal busses. 227e System Interface Currently available 200e modules: Discontinued 200e modules: The 200e synthesizer platform includes several modules that roughly correspond to the canonical analog synthesizer's ones: But the Buchla 200e modules were not designed to fit perfectly into these categories. Rather, each module implements and crosses category boundaries according to Buchla's vision of analog synthesis. The synthesizer sound basics entry offers a helpful introduction to understanding how to compose sound. With that as background, there are two ways to think about making sounds with the 200e: the electronic view and the sonic view. Taken together, the electronic view allows us to explore the sonic properties of networks we can construct with the hardware available, while the sonic view helps us focus on how to make the electronic connections necessary to realise a sound we have heard only in our minds. Since both views begin with an oscillator, we will begin with a description of the primary modules for generating an initial pitch and timbre, the 259e and the 261e Complex Waveform Generator. Both the 259e and the 261e have two oscillators: a modulation oscillator and a principal oscillator (aka a carrier wave). The 259e can produce two distinct audio signals (one from each type of oscillator), while the 261e can also produce a pre-processed signal in each oscillator. The pre

In this critical history, DeForrest Brown, Jr "makes techno Black again" by tracing the music's origins in Detroit and beyondIn Assembling a Black Counter Culture, writer and musician DeForrest Brown, Jr, provides a history and critical analysis of techno and adjacent electronic music such as house and electro, showing how the genre has been shaped over time by a Black American musical sensibility. Brown revisits Detroit's 1980s techno scene to highlight pioneering groups like the Belleville Three before jumping into the origins of today's international club floor to draw important connections between industrialized labor systems and cultural production. Among the other musicians discussed are Underground Resistance (Mad Mike Banks, Cornelius Harris), Drexciya, Juan Atkins (Cybotron, Model 500), Derrick May, Jeff Mills, Robert Hood, Detroit Escalator Co. (Neil Ollivierra), DJ Stingray/Urban Tribe, Eddie Fowlkies, Terrence Dixon (Population One) and Carl Craig. With references to Theodore Roszak's Making of a Counter Culture, writings by African American autoworker and political activist James Boggs, and the "techno rebels" of Alvin Toffler's Third Wave, Brown approaches techno's unique history from a Black theoretical perspective in an effort to evade and subvert the racist and classist status quo in the mainstream musical-historical record. The result is a compelling case to "make techno Black again." DeForrest Brown, Jr is a New York-based theorist, journalist and curator. He produces digital audio and extended media as Speaker Music and is a representative of the Make Techno Black Again campaign.

Rev. ed. of: Generation ecstasy. Boston: Little, Brown, c1998.

Die umfassende Publikation setzt das Schaffen des Musikerkollektivs in historischen Kontext und dient als Inspiration fu¿r eine neue Netzwerkmusik-Generation.Das US-Ensemble The Hub zählt zu den Pionieren der Netzwerkmusik und des Live-Codings. Die aus Tim Perkis, Scot Gresham-Lancaster, Chris Brown, John Bischoff, Phil Stone und Mark Trayle bestehende Formation ging 1986 aus der League of Automatic Music Composers hervor. Sie revolutionierte die elektronische Musik mit demokratisch organisierten und in Netzwerken agierenden Kompositions- und Performanceprozessen und erhielt den Giga-Hertz-Preis des ZKM | Hertz-Labors.Die Publikation bildet das Schaffen des Kollektivs im historischen Kontext ab, lässt Wegbegleiter*innen und Musikwissenschaftler*innen zu Wort kommen und versammelt erstmals die (kommentierten) Spielanleitungen der Gruppe.Jene Scores bilden das Herzstu¿ck des Buchs und verstehen sich nicht nur als Archivalien, sondern auch als Ausgangspunkt zuku¿nftiger Projekte einer Netzwerkmusik.

Takket være fremsynethed og virkelyst hos Christian IV blev Danmark et af de lande uden for klokkespillenes fædrelande – Holland, Belgien og Nordfrankrig – der tidligst fik et klokkespil. Det var i 1621, hvor orgelbyggeren Johann Heckelaur fra Nordhausen leverede et sangværk (klokkespil) med 16 små klokker, som kan slaa 100 underskedlige [forskellige] Psalmer. Klokkespillenes ældre historie er dybt forbundet med danmarkshistoriske begivenheder såsom krige og brandkatastrofer, og dramatikken er ofte på et højdepunkt, som det var tilfældet ved Københavns bombardement i 1807, hvor Vor Frue Kirkes højtelskede sangværk fra 1736 spillede sin egen dødssang, mens det 125 m høje spir slingrede og faldt ned over kirken. Efter Frederiksborg Slots brand i 1859, hvor klokkespillet fra Christian IV’s tid blev luernes bytte, stod landet helt uden klokkespil, men i 1889 fik Frederiksborg Slot landets første klokkespil i nyere tid. Det var bekostet af brygger I.C. Jacobsen. Siden er det gået slag i slag, således at Danmark med sine 105 klokkespil indtager en 3. plads blandt verdens lande målt på klokkespil pr. indbygger. Klokkespil i Danmark fortæller historien om alle landets klokkespil fra 1621-2021 og indeholder desuden afsnit om klokkestøbning og klokkespillenes tekniske indretning.