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Followers of Theremin from SiberiaAuthor(s): Alexander P. MentyukovSource: Leonardo Music Journal, Vol. 6 (1996), p. 65Published by: The MIT PressStable URL: http://www.jstor.org/stable/1513314 .
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4. D.V. Piotrovsky, "Computer Graphic Modeling of Melodic Structures," New Technologies in Culture and Art: A Regional Scientific-Practical Seminar (Kazan, Russia, 1995). In Russian.
5. I.L. Vanechkina, "'Musical Graphics' as an In-
4. D.V. Piotrovsky, "Computer Graphic Modeling of Melodic Structures," New Technologies in Culture and Art: A Regional Scientific-Practical Seminar (Kazan, Russia, 1995). In Russian.
5. I.L. Vanechkina, "'Musical Graphics' as an In-
4. D.V. Piotrovsky, "Computer Graphic Modeling of Melodic Structures," New Technologies in Culture and Art: A Regional Scientific-Practical Seminar (Kazan, Russia, 1995). In Russian.
5. I.L. Vanechkina, "'Musical Graphics' as an In-
strument for Musicologists and Educators," Leonardo 27, No. 5, 437-439 (1994).
6. "UPIC-A Computer for Composing Music Cre- ated by Iannis Xenakis," Bulletin of the Scientific In- formation Service of the Rimsky-Korsakov State
strument for Musicologists and Educators," Leonardo 27, No. 5, 437-439 (1994).
6. "UPIC-A Computer for Composing Music Cre- ated by Iannis Xenakis," Bulletin of the Scientific In- formation Service of the Rimsky-Korsakov State
strument for Musicologists and Educators," Leonardo 27, No. 5, 437-439 (1994).
6. "UPIC-A Computer for Composing Music Cre- ated by Iannis Xenakis," Bulletin of the Scientific In- formation Service of the Rimsky-Korsakov State
Conservatory of St. PetersburgNo. 4 (1992) pp. 32- 40. In Russian.
7. Lityagina and Naumov [1], "UPIC" [6].
8. Lityagina and Naumov [1].
Conservatory of St. PetersburgNo. 4 (1992) pp. 32- 40. In Russian.
7. Lityagina and Naumov [1], "UPIC" [6].
8. Lityagina and Naumov [1].
Conservatory of St. PetersburgNo. 4 (1992) pp. 32- 40. In Russian.
7. Lityagina and Naumov [1], "UPIC" [6].
8. Lityagina and Naumov [1].
Followers of Theremin from Siberia
Alexander P Mentyukov
Followers of Theremin from Siberia
Alexander P Mentyukov
Followers of Theremin from Siberia
Alexander P Mentyukov
The NTONYX Computer Laboratory (NCL) was established in 1984 as the Novosibirsk Computer Laboratory by re- search collaborators of the Computer Department of the Novosibirsk State
Conservatory, including engineers, pro- grammers, acousticians, psychologists and musicians who specialized in the development and application of soft- ware and hardware for electronic music.
Before 1990, the NCL's primary ac- tivities involved performing projects to order for industrial enterprises. During that time, it developed several prod- ucts, including Data Filer for musical instruments, Car Sound Processor, Tele- graph Adapter and the Music Com-
puter, which was the first computer based on the Apple II to be produced in the Soviet Union.
At present, the NCL is known in Rus- sia as a scientific-industrial firm with limited production of equipment using updated components. Scientific re- search forms a considerable part of the
laboratory's work. Particular focus is on the fundamental question of the expres- siveness of electronic music. According to the NCL specialists' opinions, the main point of the problem lies not so much in the improvement of sound-syn- thesis technology and the stability of
Alexander P. Mentyukov (musicologist, educator), Com- puter Department, Novosibirsk State Conservatory, 31, Sovetskaya Street, Novosibirsk, Russia. E-mail: <[email protected]>.
The NTONYX Computer Laboratory (NCL) was established in 1984 as the Novosibirsk Computer Laboratory by re- search collaborators of the Computer Department of the Novosibirsk State
Conservatory, including engineers, pro- grammers, acousticians, psychologists and musicians who specialized in the development and application of soft- ware and hardware for electronic music.
Before 1990, the NCL's primary ac- tivities involved performing projects to order for industrial enterprises. During that time, it developed several prod- ucts, including Data Filer for musical instruments, Car Sound Processor, Tele- graph Adapter and the Music Com-
puter, which was the first computer based on the Apple II to be produced in the Soviet Union.
At present, the NCL is known in Rus- sia as a scientific-industrial firm with limited production of equipment using updated components. Scientific re- search forms a considerable part of the
laboratory's work. Particular focus is on the fundamental question of the expres- siveness of electronic music. According to the NCL specialists' opinions, the main point of the problem lies not so much in the improvement of sound-syn- thesis technology and the stability of
Alexander P. Mentyukov (musicologist, educator), Com- puter Department, Novosibirsk State Conservatory, 31, Sovetskaya Street, Novosibirsk, Russia. E-mail: <[email protected]>.
The NTONYX Computer Laboratory (NCL) was established in 1984 as the Novosibirsk Computer Laboratory by re- search collaborators of the Computer Department of the Novosibirsk State
Conservatory, including engineers, pro- grammers, acousticians, psychologists and musicians who specialized in the development and application of soft- ware and hardware for electronic music.
Before 1990, the NCL's primary ac- tivities involved performing projects to order for industrial enterprises. During that time, it developed several prod- ucts, including Data Filer for musical instruments, Car Sound Processor, Tele- graph Adapter and the Music Com-
puter, which was the first computer based on the Apple II to be produced in the Soviet Union.
At present, the NCL is known in Rus- sia as a scientific-industrial firm with limited production of equipment using updated components. Scientific re- search forms a considerable part of the
laboratory's work. Particular focus is on the fundamental question of the expres- siveness of electronic music. According to the NCL specialists' opinions, the main point of the problem lies not so much in the improvement of sound-syn- thesis technology and the stability of
Alexander P. Mentyukov (musicologist, educator), Com- puter Department, Novosibirsk State Conservatory, 31, Sovetskaya Street, Novosibirsk, Russia. E-mail: <[email protected]>.
tempo, pitch and timbre-whose recent
developments are widely regarded as signs of progress-but in the lack of ef- fective methods of influencing and con- trolling synthesis. In many respects, the
expressive characteristics of electronic music are predetermined by synthesis, and the laboratory's specialists see their search in this direction as a fruitful one.
This suggests that the next step in the development of electronic means of producing music will involve transfer- ring the sound extraction laws and norms of expressive intonation that function in music as an art form.
In their attempts to solve this prob- lem, the NCL specialists have created the Integral Controller for solo synthe- sizer; the Tone Generator, which is based on a concept of "family voices"; and the Style Enhancer (SE system), a program for modeling performance and automatic processing of an elec- tronic score to produce a given form of expressiveness.
Rather than making use of the tradi- tional wheels and joystick, the original structure of the Integral Controller has six independent parameters that give the musician free rein to influence perfor- mance and control synthesis in real time.
A concept of "family voices" forms the basis for the Tone Generator, which was realized with the help of a timbre- morphing method. In this case, one synthesis channel for reproduction of an expressive musical part-which in- cludes different methods of sound ex-
tempo, pitch and timbre-whose recent
developments are widely regarded as signs of progress-but in the lack of ef- fective methods of influencing and con- trolling synthesis. In many respects, the
expressive characteristics of electronic music are predetermined by synthesis, and the laboratory's specialists see their search in this direction as a fruitful one.
This suggests that the next step in the development of electronic means of producing music will involve transfer- ring the sound extraction laws and norms of expressive intonation that function in music as an art form.
In their attempts to solve this prob- lem, the NCL specialists have created the Integral Controller for solo synthe- sizer; the Tone Generator, which is based on a concept of "family voices"; and the Style Enhancer (SE system), a program for modeling performance and automatic processing of an elec- tronic score to produce a given form of expressiveness.
Rather than making use of the tradi- tional wheels and joystick, the original structure of the Integral Controller has six independent parameters that give the musician free rein to influence perfor- mance and control synthesis in real time.
A concept of "family voices" forms the basis for the Tone Generator, which was realized with the help of a timbre- morphing method. In this case, one synthesis channel for reproduction of an expressive musical part-which in- cludes different methods of sound ex-
tempo, pitch and timbre-whose recent
developments are widely regarded as signs of progress-but in the lack of ef- fective methods of influencing and con- trolling synthesis. In many respects, the
expressive characteristics of electronic music are predetermined by synthesis, and the laboratory's specialists see their search in this direction as a fruitful one.
This suggests that the next step in the development of electronic means of producing music will involve transfer- ring the sound extraction laws and norms of expressive intonation that function in music as an art form.
In their attempts to solve this prob- lem, the NCL specialists have created the Integral Controller for solo synthe- sizer; the Tone Generator, which is based on a concept of "family voices"; and the Style Enhancer (SE system), a program for modeling performance and automatic processing of an elec- tronic score to produce a given form of expressiveness.
Rather than making use of the tradi- tional wheels and joystick, the original structure of the Integral Controller has six independent parameters that give the musician free rein to influence perfor- mance and control synthesis in real time.
A concept of "family voices" forms the basis for the Tone Generator, which was realized with the help of a timbre- morphing method. In this case, one synthesis channel for reproduction of an expressive musical part-which in- cludes different methods of sound ex-
traction and timbre shading-is used instead of several.
The main purpose of the SE System program is to model the rendering pro- cess with due regard for instrument structure, performer physiology, sound- extraction technology and standard laws of intonation. The program algorithm includes the analysis and transforma- tion of musical data in accordance with a set of regulated rules. In the course of modeling, a number of transforming functions such as frequency, time and
amplitude influence the initial data. As
compared to the traditional method of editing scores by hand, the program re- duces the composer's expenditure of time in the creation and arrangement of a musical composition. It can also prove useful in the research activities of musicologists and practical work of teachers, because its modeling methods allow one to examine concealed mecha- nisms of the performance process.
The creation and approval of a prac- tical version of the SE System spurred the organization of the new Laboratory for the Modeling of Performance at the Novosibirsk State Conservatory.
Alexei Ustinov, an educator at the Computer Department, is the organizer of the NCL and the chief manager of its research projects.
In 1995, the NCL was renamed the NTONYX Computer Laboratory and became a research subdivision of NTONYX International Corporation.
traction and timbre shading-is used instead of several.
The main purpose of the SE System program is to model the rendering pro- cess with due regard for instrument structure, performer physiology, sound- extraction technology and standard laws of intonation. The program algorithm includes the analysis and transforma- tion of musical data in accordance with a set of regulated rules. In the course of modeling, a number of transforming functions such as frequency, time and
amplitude influence the initial data. As
compared to the traditional method of editing scores by hand, the program re- duces the composer's expenditure of time in the creation and arrangement of a musical composition. It can also prove useful in the research activities of musicologists and practical work of teachers, because its modeling methods allow one to examine concealed mecha- nisms of the performance process.
The creation and approval of a prac- tical version of the SE System spurred the organization of the new Laboratory for the Modeling of Performance at the Novosibirsk State Conservatory.
Alexei Ustinov, an educator at the Computer Department, is the organizer of the NCL and the chief manager of its research projects.
In 1995, the NCL was renamed the NTONYX Computer Laboratory and became a research subdivision of NTONYX International Corporation.
traction and timbre shading-is used instead of several.
The main purpose of the SE System program is to model the rendering pro- cess with due regard for instrument structure, performer physiology, sound- extraction technology and standard laws of intonation. The program algorithm includes the analysis and transforma- tion of musical data in accordance with a set of regulated rules. In the course of modeling, a number of transforming functions such as frequency, time and
amplitude influence the initial data. As
compared to the traditional method of editing scores by hand, the program re- duces the composer's expenditure of time in the creation and arrangement of a musical composition. It can also prove useful in the research activities of musicologists and practical work of teachers, because its modeling methods allow one to examine concealed mecha- nisms of the performance process.
The creation and approval of a prac- tical version of the SE System spurred the organization of the new Laboratory for the Modeling of Performance at the Novosibirsk State Conservatory.
Alexei Ustinov, an educator at the Computer Department, is the organizer of the NCL and the chief manager of its research projects.
In 1995, the NCL was renamed the NTONYX Computer Laboratory and became a research subdivision of NTONYX International Corporation.
The Theremin Center for Electroacoustic Music Andre Smirnov
The Theremin Center for Electroacoustic Music Andre Smirnov
The Theremin Center for Electroacoustic Music Andre Smirnov
The Theremin Center was indepen- dently created by a group of Moscow composers and specialists in electronic
The Theremin Center was indepen- dently created by a group of Moscow composers and specialists in electronic
The Theremin Center was indepen- dently created by a group of Moscow composers and specialists in electronic
and computer music in 1992. It is named after Leon Theremin, the Rus- sian inventor of one of the first elec-
and computer music in 1992. It is named after Leon Theremin, the Rus- sian inventor of one of the first elec-
and computer music in 1992. It is named after Leon Theremin, the Rus- sian inventor of one of the first elec-
tronic musical instruments that has come to be well known all over the world. The Center aims to achieve a
tronic musical instruments that has come to be well known all over the world. The Center aims to achieve a
tronic musical instruments that has come to be well known all over the world. The Center aims to achieve a
Music/Science Forum 65 Music/Science Forum 65 Music/Science Forum 65
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