Re: electroacoustics - rap to tap


Subject: Re: electroacoustics - rap to tap
gogins@pipeline.com
Date: Fri Jul 02 2004 - 10:29:22 EDT


Max Mathews at Bell Labs invented computer music and more or less invented
digital audio along with it (it had actually already been invented for
digital radiotelephony in WWII) in 1958 or thereabouts. The first dedicated
digital audio recorder was built by Thomas Stockham at MIT in 1962. The
first commercial digital audio recorder was built by Thomas Stockham for
his company SoundStream in Utah in 1975.

Utah (I'm from there) bats heavy in multimedia: television was invented by
a Utahn, and 3-D computer graphics and computer graphics workstations
fostered in Utah.

Original Message:
-----------------
From: Richard Wentk richard@skydancer.com
Date: Fri, 02 Jul 2004 13:43:00 +0100
To: cec-conference@concordia.ca
Subject: Re: electroacoustics - rap to tap

At 07:22 02/07/2004 -0400, you wrote:
>I agree with most of what you say here. However, I think that high or fine
>art (which is what, in my view, you're talking about) affects popular art
>profoundly, and more than the other way round. Example: everyone uses
>Western common practice tonality, never dreamed of in popular music in the
>middle ages or Renaissance before its use in art/church music.

A lot of dance is actually atonal. Not in the serial sense, obviously, but
it's an exaggeration to say that all of it is based on standard tonality.

>Example: everyone records on computers, which were invented by computer
>music guys,
>part of the classical avant-garde.

I'm sure I've heard people playing instruments live too.

No - wait - must be my imagination playing up again. ;-)

I always thought the first hard disk recording systems were commercial not
academic projects. The Synclavier is the earliest one I can think of,
definitely in its post-Dartmouth big commercial company days.

Am I wrong?

>This has a big effect on popular music style.But the influence does go
>both ways: backbeats creeping into art
>music. One can hope, probabably futilely, that some sort of swing could
>saunter into some sort of art music.

If only for a few bars, before switching back to 7/16 over 23/8, punctuated
by random grain clouds.

Richard

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