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Between air and electricity : microphones and loudspeakers as musical instruments

Author: Cathy van Eck
Publisher: New York : Bloomsbury Academic, 2017.
Edition/Format:   eBook : Document : EnglishView all editions and formats
Summary:

An overview of how microphones and loudspeakers have changed music over the past 100 years through artistic experiments and innovation.

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Genre/Form: Criticism, interpretation, etc
History
Electronic books
Additional Physical Format: Print version:
Eck, Cathy van.
Between air and electricity
New York : Bloomsbury Academic, 2017
(DLC) 2016034186
Material Type: Document, Internet resource
Document Type: Internet Resource, Computer File
All Authors / Contributors: Cathy van Eck
ISBN: 9781501327629 1501327623
OCLC Number: 957265028
Description: 1 online resource.
Contents: Cover; Contents; List of Figures; List of Schemes; Acknowledgements; Introduction; 1 Beyond the Curtain: The 'True Nature' of Microphones and Loudspeakers; An empty stage: Listening according to the Konzertreform; A concert at home: The invention of sound reproduction technologies; Storage of air pressure waves; Transportation of air pressure waves; Amplification of air pressure waves; Between air and electricity; A standard, almost perfect amplifier and loudspeaker; Microphones and loudspeakers: The musical instruments of our age?; The 'true nature' of microphones and loudspeakers 2 Reproducing --
Supporting --
Generating --
Interacting: Four Approaches towards Microphones and LoudspeakersMade for music: Concepts on musical instruments; Violins, mixing desks and spoons; Piano lessons or a phonograph: How sound reproduction technologies entered the living room; The instrumental phonograph and the reproducing radio; Semantic acts of sound creation; Hearing voices through the noise: Completely satisfactory recordings in 1902; Electricity, bodies and diaphragms; Reproducing: One sound system for all music; Supporting: The same sound but louder; Transparent technology The record as a copy of the concert and the concert as a copy of the recordGenerating: Music without musical instruments; Interacting: Resonance and resistance; 3 The Sound of Microphones and Loudspeakers; Acoustic feedback: An electromechanical oscillator; The tuning fork: An early sine wave generator; Transforming sound into a researchable object; Hermann von Helmholtz: Tuning fork experiments; Hermann von Helmholtz: Tuning forks reproduce human vowels; The tympanic principle and the tuning fork principle; Alexander Bell: Metal rods reproduce sound Alexander Bell: Metal plates reproduce soundRichard Eisenmann: An electric piano with tuning forks; George Dieckmann: A piano string oscillator; Bechstein-Siemens-Nernst-piano: Piano, radio and gramophone through the same loudspeaker; 4 Movement, Material and Space: Interacting with Microphones and Loudspeakers; Acoustic feedback: From mistake to music; Movement; Quintet by Hugh Davies: Changing the distance between microphone and loudspeaker; Pendulum Music by Steve Reich: Introducing silence; Bird and Person Dyning by Alvin Lucier: Listening as a performative act Green Piece by Anne Wellmer: Interacting with another sound sourceMikrophonie I by Karlheinz Stockhausen: Amplification only; Speaker Swinging by Gordon Monahan and Three Short Stories and an Apotheosis by Annea Lockwood: Moving loudspeakers; Material; Coffee making by Valerian Maly and 0'00" by John Cage: Everyday actions amplified; Inside Piano by Andrea Neumann: Musical instruments and contact microphones; Apple Box Double by Pauline Oliveros and Shozyg by Hugh Davies: New instruments through amplification; Nodalings by Nicolas Collins: Acoustic feedback through objects
Responsibility: Cathy van Eck.

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This is a genuinely fascinating and under-represented area of compositional research and activity, and the strongest portion of van Eck's book is the riveting overview of the repertoire. * TEMPO * Read more...

 
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