Whereas, in the past, the point of disagreement has been between dissonance and consonance, it will be, in the immediate future, between noise and so-called musical sounds. Photoelectric, film, and mechanical mediums for the synthetic production of music will be explored. The use of noise to make music will continue and increase until we reach a music produced through the aid of electrical instruments which will make available for musical purposes any and all sounds that can be heard. John Cage, in his 1937 monograph Credo: The Future of Music, wrote this elliptical doctrine: Luigi Russolo, the futurist composer, wrote in his 1913 manifesto The Art of Noises of a futurist orchestra harnessing the power of mechanical noisemaking (and phonographic reproduction) to “liberate” sound from the tyranny of the merely musical. Many composers of the time were, not unreasonably, entranced by the potential of these new mediums of transcription, transmission, and performance. 2 New electronic musical instruments, from the large and impractical telharmonium to the simple and elegant theremin multiplied in tandem with recording and broadcast technologies and prefigured the synthesizers, sequencers, and samplers of today. Emile Berliner's gramophone record (1887) and the advent of AM radio broadcasting under Guglielmo Marconi (1922) democratized and popularized the consumption of music, initiating a process by which popular music quickly transformed from an art of minstrelsy into a commodified industry worth tens of billions of dollars worldwide. Thomas Edison's 1857 invention of the phonograph and Nikola Tesla's wireless radio demonstration of 1893 paved the way for what was to be a century of innovation in the electromechanical transmission and reproduction of sound. As a result, the artist today working with sound has not only a huge array of tools to work with, but also a medium exceptionally well suited to technological experimentation. 1 The ability to create, manipulate, and reproduce lossless sound by digital means is having, at the time of this writing, an equally revolutionary effect on how we listen.
Indeed, the development of phonography (the ability to reproduce sound mechanically) has, by itself, had such a transformative effect on aural culture that it seems inconceivable now to step back to an age where sound could emanate only from its original source. Unsurprisingly, therefore, we find that in the machine age these same people found themselves first in line to take advantage of the new techniques and possibilities offered by electricity, telecommunications, and, in the last century, digital computers to leverage all of these systems to create new and expressive forms of sonic art. From developments in the writing and transcription of music (notation) to the design of spaces for the performance of music (acoustics) to the creation of musical instruments, composers and musicians have availed themselves of advances in human understanding to perfect and advance their professions. The history of music is, in many ways, the history of technology. If you see any errors or have comments, please let us know. I do not only recommend the CS Sensor : I think that every flamenco or classical guitarist playing in a group should have one on tour.This tutorial is “Extension 3” from Processing: A Programming Handbook for Visual Designers and Artists, Second Edition, published by MIT Press. This is very easy on tour if you have the little EQ that Carlos make for the CS Sensor for example. You can make a quick adjustment in the EQ and then you will have a PERFECT sound. Due to the location of the CS Sensor on the top (just behind the bridge), the sound is a little bit medium (put your ear to this spot, you will realize how neutral is the CS Sensor). I really insist on that because you can ask to have it in your monitor without changing nothing in the sound. Amazing sound, no power needed, lightweight, beautiful looking, no feedback… And most of all, AMAZING PLAYING SENSATIONS.
#JOEL MIDI CONVERTER INSTALL#
It took ten minutes to install it outside my flamenco guitar, and then everything changed. I was thinking to stop playing acoustic guitar on stage forever and then Carlos sent me the CS Sensor.
I was on tour playing every day, different venues and different sound engineers for each concert. First, I have to say that the CS Sensor saved my life.
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