Expanding in Reverse:  Rediscovering Predecessors in an Electronic Music History Course

Brian Heller
Minneapolis College

  • 2 Year Associate's of Science degree (60 credits)
  • Teaches fundamental principles, with significant work in all 3 domains
  • Focus on using sound for creative work
  • Scope not limited to music

Transforming the Course

  • Very broad overview
  • Separate from the production courses
  • 'Ear stretching' to develop sound imagination and aesthetic listening skills

History and Literature of Sound Arts

Anthropology defines technology as:

The body of knowledge available to a society that is of use in fashioning implements, practicing manual arts and skills, and extracting or collecting materials.

A History of What?

Electronic >> Technology

Music >> Sound

Neither the phonograph nor the Futurists were electronic!

Ancient Solutions

Aeolian Harp

after Aeolus, god of the wind

Hydraulis

Greeks, 2nd century B.C.

Ktesibios, inventor

Pneumatics:

The branch of physics or technology concerned with the mechanical properties of gases.

Hydraulis vs. Telharmonium

  • Overcame human limitations to produce & distribute sound
  • Complex enough to require 2 people
  • Limited tonal complexity and range
  • Physical performance skills shifted to operation of the apparatus

New paradigms of power and limitations:

Heron of Alexandria

10 AD – 70 AD

  • Work for both entertainment and serious mathematics
  • Inventions range from party tricks, to a vending machine, to a proto-steam engine
  • Many include algorithmic programming
  • Introduces function and power of algorithms
  • Sophisticated work with relatively simple technology
  • Concrete, observable example of control systems
  • Sets the stage for later analog (synth cv) and digital (generative) music systems

As a Point of Entry for Students...

Heron's maze of conditionals and sub-routines are not entirely different from a Max patch...

Including ancient works allows students see that...

fundamental concepts behind the use of technology need not be tied to a particular tool, power source, or point on a timeline.  

there can be conceptual continuity between eras.

American Experimentalists

  • Mainly American composers between roughly 1900–1940
  • More on the fringe and with fewer resources than their European counterparts
  • Almost no electronic music or access to new instruments, but the sound imagination of early electronic composers

1897-1965

California/Upstate New York

Text

Henry Cowell

New Musical Resources

  • Written in 1919, not officially published until 1930

  • Rhythmicon (later built by Leon Theremin)

  • Musical system using the harmonic series for both harmony & rhythm

  • Use of player piano (later done by Conlon Nancarrow)

  • The seminal American experimental composer

  • String piano, tone-clusters, use of folk music in America and other cultures

1912-1997

Arkansas/Mexico City

Conlon Nancarrow

In the player piano, Nancarrow had an early MIDI system:

  • Note messages
  • Pedal control (MIDI CC #7 and #64)
  • Complete non-realtime control of tempo and sequence
  • Independence of pitch and tempo
  • Editing and memory

Strong musical relationship to the RCA MKII and Milton Babbitt's work

Others

  • John Cage (prepared piano)
  • Charles Ives (1/4-tone pianos)
  • Edgard Varese (percussion works)
  • Harry Partch (instrument building)

Conclusion

  • Electronics are but one way of building and using tools for musical expression.
  • Highlight 'big ideas' by showing historical continuity.
  • Encourage students to find that continuity in their own view of the world.