Kulturtechno

The Keaton Music Typewriter was first patented in 1936 (14 keys) by Robert H. Keaton from San Francisco, California. Another patent was taken out in 1953 (33 keys) which included improvements to the machine. The machine types on a sheet of paper lying flat under the typing mechanism. There are several Keaton music typewriters thought to be in existence in museums and private collections. It was marketed in the 1950s and sold for around $225. The typewriter made it easier for publishers, educators, and other musicians to produce music copies in quantity. Composers, however, preferred to write the music out by hand.

Man stelle sich nun den Komponisten samt Sekretärin (und samt heimlichem Verhältnis) vor.

(via publique)

Alex Braidwood ist Instrumentenbauer – also Komponist!
Beispielsweise erweitert er die menschlichen Ohren um das, was die Augen können: Blinzeln.

The Noisolation Headphones attempt to correct an oversight of our body: our ears can’t blink.
We can’t block out molesting noise as easily as we can shut off light or disturbing images. In 2004 already, Dr Michael Bull was observing that iPods and other m3 players were used to control their environment, and in particular to shield their users from the sound of the city.

The Noisolation Headphones are a critical investigation that transforms the relationship between a person and the noise in their environment. While worn, exposure to the noise is structured through a sequence designated by a composer which controls the behavior of the sound-prevention valves. The composer also determines what values are adjustable by the listener through the single knob built into the device. The headphones mechanically create a personal listening experience by composing noise from the listener’s environment, rendering it differently familiar.

Ich will ja tatsächlich meinen, dass es noch einen beträchtlichen musikalischen Materialfortschritt gibt, wenn das menschliche Hörorgan erweitert wird. Da gibt’s ja noch zB haufenweise Ultraschall-Frequenzen.

(via BoingBoing)

Zur letztjährigen Debatte um Musik und die digitale Revolution hat der Freiburger Komponist und Programmierer Thomas Hummel einen Text in der Schweizer Zeitschrift dissonance beigesteuert, in dem es um die Verwendung von Instrumentensamples geht (Kulturtechno berichtete).

Dieser Text steht nun auf der dissonance-Website vollständig online:

http://www.dissonance.ch/upload/pdf/113_18_hb_thh_innovationsmotor.pdf

Ich selbst werde in den nächsten „Darmstädter Beiträgen für Neue Musik“ einen ausführlichen Text über meine Kompositionssoftware COIT bringen.

Ted Hayes hat eine web-basierte Anwendung der Programmiersprache Puredata geschrieben.

http://turbulence.org/works/PureeData

PuréeData is a web-browser interface for a single shared sound environment that allows live, collaborative patching for anyone, anywhere. Visitors interact with a shared PureData audio synthesis patch and listen to the results as an MP3 stream, with no software to install or set up. The project is open-source, and all are encouraged to modify, improve and set up their own PuréeData servers.

PuréeData is a 2011 commission of New Radio and Performing Arts, Inc. for its Turbulence website. It was made possible with funding from the Jerome Foundation.

(via Networked Music Review)

Ich selbst habe vorletztes Jahr ein Lehrbuch über Programmierung elektronischer Musik in Puredata verfasst, hier als Paperback zu kaufen oder hier kostenlos online.