Musi 095 Test 1 - Europe

Front 1

Paris studio, employed Pierre Schaeffer, Pierre Henry, and Jacques Poullin. turntables, microphones, filters, a reverberation chamber, field recorder, mixer, and disc lathes.

Back 1

GRM Studio

Front 2

French composer, theorist, and radio engineer who developed musique concrete

Back 2

Pierre Schaeffer

Front 3

French composer-percussionist who co-founded the Groupe de Recherche de Musique Concrete with Pierre Schaeffer in 1951

Back 3

Pierre Henry

Front 4

French engineer who co-founded the Groupe de Recherche de Musique Concrete with Pierre Schaeffer in 1951

Back 4

Jacques Poullin

Front 5

real music, used acousmatic sound as a compositional resource

Back 5

musique concretre

Front 6

sound heard apart from its originating cause, it makes up musique concrete

Back 6

acousmatic music

Front 7

early massive work in musique concrete, premiered in Paris in 1948

Back 7

Cinq etudes de bruits

Front 8

electronic music studio in Cologne, Germany. audio oscillators (for generating sine and sawtooth waveforms), a variable-speed tape recorder, a four-track tape recorder, audio filters, a ring modulator, white noise generator, and a mixing console.

Back 8

NWDR Studio

Front 9

German composer, music theorist, and journalist who became NWDR Studio's first director and cofounded the studio

Back 9

Herbert Eimert

Front 10

German physicist and acoustician who co-founded NWDR Studio

Back 10

Werner Meyer-Eppler

Front 11

German engineer who co-founded NWDR Studio

Back 11

Fritz Enkel

Front 12

experimental composer, co-edited the new music journal Die Reihe with Eimert - Studie I and II, Gesang der Junglinge

Back 12

Karlheinz Stockhausen

Front 13

Schoenberg's technique and concept, involved using every tone equally in the tone row

Back 13

twelve-tone music

Front 14

device capable of generating sine and sawtooth waveforms

Back 14

audio oscillator

Front 15

included band-pass filters. a circuit, working in the audio frequency range, that processes sound signals.

Back 15

audio filters

Front 16

device that creates a signal-processing effect in electronics, an implementation of amplitude modulation or frequency mixing, performed by multiplying two signals, where one is typically a sine-wave or another simple waveform. achieves distortion.

Back 16

ring modulator

Front 17

device that speeds up or slow down the playback rate without distorting the "speaker's" voice.

Back 17

variable-speed tape recorder

Front 18

a random signal (or process) with a flat power spectral density

Back 18

white noise

Front 19

an electronic device for combining (also called "mixing"), routing, and changing the level, timbre and/or dynamics of audio signals

Back 19

mixing console

Front 20

Italian studio founded in 1955 by Luciano Berio and Bruno Maderna in Milan, Italy. very generous array of equipment, well-sponsored.

Back 20

Studio di Fonologia Musicale

Front 21

Italian composer, husband of professional soprano Cathy Berberian, wrote Thema-Omaggio, co-founded a journal solely for electronic and avant-garde music - Incontri Musicali - with Maderna, co-founded the Studio

Back 21

Luciano Berio

Front 22

Italian composer who co-founded the Studio di Fonologia Musicale

Back 22

Bruno Maderna

Front 23

Italian physicist, worked in Milan

Back 23

Alfredo Lietti

Front 24

sound engineer at the Studio in Milan

Back 24

Marino Zuccheri

Front 25

a highlihgt of Berio and other composers' work at the Studio in Milan. involved unmodified human speech and pure rhythmic and musical sound. can be based on readings of books (like Ulysses)

Back 25

text sound composition

Front 26

the cylinders were plastic, typically recorded 8 to 9 minutes of audio, and had a frequency range of 100 to 5,000 Hz. used for home recording and dictation. the recorded cylinder was used for playback. re-recording had to be made on a new cylinder

Back 26

phonograph cylinders

Front 27

the discs were made of shellac. they held up to 4 to 5 minutes of audio per side with a frequency range of 80 to 6,000 Hz. they were used for commercial recordings of music and in radio broadcasting. the recorded disc was used for playback. re-recording had to be made on a new disc.

Back 27

gramophone discs

Front 28

the recorders were also used for home recording and dictation, but usually recorded up to 60 minutes of audio with a frequency range of 200 to 6,000 Hz. sound could be edited by snipping the wires and tying or welding them back together. re-recording could be done on the same wire.

Back 28

wire recorders

Front 29

the film held up to 50 to 10 minutes of audio for early shorts and later enough audio for a full length feature film. it had a frequency range of up to 8,000 Hz. it was used for motion picture sound tracks. sound could be edited by snipping the film and taping or gluing loose ends back together. re-recording could be done on the same film.

Back 29

optical film