Category: THE HISTORY OF ELECTRONIC MUSIC
Posted by Angelika in THE HISTORY OF ELECTRONIC MUSIC Friday, 16 July 2010 15:54 No Comments
Is Music the Missing Link?
Thanks for stopping by,
Like all good websites, theracemusic is a living, breathing, constant work in progress,
new content is added all the time so check back regularly or subscibe to our rss feed!
Even though we’ll be adding new categories of posts in the near future,
we’ve mainly been concentrating on the history of electronic music, and as you can well imagine there’s a lot of ground to cover.
If you want to start at the very beginning then simply CLICK HERE FOR THE PART 1
We’ve also included an INDEX PAGE to make it easier to navigate to your desired chapter!
CLICK HERE For the History Of Elecrtonic Music INDEX
Posted by Angelika in THE HISTORY OF ELECTRONIC MUSIC Sunday, 21 March 2010 18:57 No Comments
THE HISTORY OF ELECTRONIC MUSIC:
Part 20. The Attack of the Automatons : Robot Ancestors.
The History of Automatons. Chapter 1.
Ben and Dave both suffered from pins and needles
Today we start a brand new thread in our history series. The Automatons.
We’re going to discover all about the modern robot’s strange ancestors. We’re taking a strange trip into the weird and wonderful fascination mankind has to imitate living things.
But first an explanation.
If you’ve been following the blog for a while now you probably realize that some of our tales tend to go on small tangential trips before returning to the story at hand. All the best stories do, especially those that are true.
Throughout our story so far we’ve alluded to these fascinating machines a few times, in fact, they’ve been responsible for some of those minor tangents mentioned above.
As we promised in previous posts, the tale of man’s obsession for making the mechanical act biological, deserves it’s very own tale, one that will unfold over the next few months.
And as you’ll soon discover, their relevance to the history of electronic music is more than most people realize.
So What’s an Automaton?
Glad you asked..
An Automaton is “a machine which by means of mechanical, pneumatic, hydraulic, electric or electronic devices is able to imitate a living body”.
In other words making the artificial seem biological.
Automatons are to Robots, as Caveman is to Modern Man.
As mankind becomes more sophisticated so does the robot.
In many ways the history of the automaton closely reflects the history of engineering.
The First Automaton’s.
The Word Automaton is derived from the Greek automatos: ‘meaning acting of one’s own will or spontaneously’ and it is the Greek’s that are the most famous for the beginnings of the automaton, but it should be noted that the Chinese seemed to have been just as obsessed with auotomatons and for almost as long.
Obsession seems to be the root word
Automatons even appear in Greek myth, Daedalus used quicksilver to install a voice in his statues. Hephaestus created automata for his workshop: Talos, an artificial man of bronze, and, according to Hesiod, the woman Pandora.
In fact it was the Greek philosopher Aristotle who conceptualized the idea of what would one day be called robots: “If every tool, when ordered, or even of its own accord, could do the work that befits it . . . then there would be no need either of apprentices for the master workers or of slaves for the lords.”
The Greeks used automata as toys, religious idols and tools for demonstrating scientific principals.
The earliest recorded mention of automata comes as far back, as the Greek Poet Pindar (ca. 522–443 BC). In his seventh Olympic Ode, writing about the island of Rhodes, he said:
The animated figures stand,
Adorning every public street,
And seem to breathe in stone,
or move their marble feet.
The earliest specific records of a these mechanical marvels goes back to somewhere between 400 -350 B.C
Archytas of Tarentum a good friend of Plato is reputed to have designed and built the first artificial, self-propelled flying device.
Called The Pigeon, It was a bird-shaped model that was propelled by a jet of what was probably steam. It was reported being able to fly up to 200 meters!
(Although it must be said that The Pigeon, may have been suspended on a wire or pivot for its flight..)
The next historical records comes from another Greek, and an old friend of this blog’s Hero of Alexandria. (c.10-70 AD).
In parts 4 and 5 we talked about how hero would create all sorts of automata from singing birds to trumpet playing heralds.
Hero even created stages that would move on to stage of it’s own accord, show an animated musical play that would even include his automata pour wine, create fire then drink, and move back off stage again.
To catch up on Hero click here.
Hero of Alexandria
We also know that automata were widespread in China by the time of the Sui Dynasty (6th century AD), when the ‘Shai Shih t’u Ching Book of Hydraulic Excellencies’, was written, some believe that many of the devices in this wonderful tome may even go back as far as 200 B.C.
These incredible artisans built sophisticated mechanical animals, including birds with moving parts and otters that swallowed fish.
There were also flying automatons, mechanized doves and fish, angels and dragons, and automated cup-bearers, all hydraulically-actuated for the amusement of Emperors by anonymous engineer-craftspeople.
I like how they felt they also had to take the wig off to show the inside workings..
But to me their masterpiece was surely an entire mechanical orchestra.
Unfortunately I can find very little written about this, which strikes me as odd as surely something as profound as the first musical mechanical polyphonic instrument would be important?
Previous to this post in chapter 14 I reported that the Panharmonicon was the first truly polyphonic orchestral instrument. If the this mechanical orchestra is true it predated the Panharmonican by over 1800 years!
See.. another tangent!
And it is on this tangent – one that connects the story back to music, where we can see that even from the beginning of man’s obsession with the automaton, we have searched for ways to get them to make sound and music. In fact by the end of this tale of the mechanical imitating the biological, we will discover the very first digitized speech! (and you won’t believe how long ago it was created too!)
In our next part we’re going to visiting the world’s first programmable robot, Leonardo Divinci’s little known masterpiece and the device that started an automatom fad across Europe that would last 200 hundred years and end with real life robots!
Coming soon – part 2 in the Attack of the Automatons!
Click here for the previous chapter.
Posted by Angelika in THE HISTORY OF ELECTRONIC MUSIC Tuesday, 2 March 2010 15:45 No Comments
Part 28. “THE CHAMP IS DOWN BUT NOT OUT”
The History of the Phonograph. Chapter 6
Welcome back!
The Hippies! They rejected material possessions, but apparently not marketing slogans!
Some say that the record players industry peaked in the 60’s.. What can definitely be said is that from the end of WWII the record player was really the only contender.
By the 70’s Hi-fidelity record players had the ability to reproduce sound almost completely free of defects.
Even a $200 vinyl record player had very little flutter and low rumble.
There were many improvements that did their part to improving the listening experience, belt and direct-drives, jewel-balanced tone arms, electronically controlled linear tracking and magnetic cartridges.
There was even quadraphonic sound.
That’s right, this may be a surprise to you reading this, but we had surround sound in the 70’s.
In fact for the 30th anniversary of Dark Side of the Moon, Pink Floyd released a re-master of their original quadraphonic mix of the classic album it’s available on SACD.
The most sold record in history: " you've got to keep the loonies off the grass"
The 4 channel sound was created by electronic matrixing (putting out of phase), and then through the use of special record player head and phase detection circuits (sounds like something out of star trek doesn’t it) the amplifier was then able to decode the signal into 4 separate channels.
Even though this was a major breakthrough from both a technological and audiophile perspective, it didn’t really grab the imagination or the wallet of the average consumer and quadraphonic sound was short lived.
Until of course, the development of surround sound home theater systems and SACD players. Although this technology was made popular not through surround music but people wanting to replicate the experience of the 3D sound experienced when going to the cinema.
In this clip from Not the nine o’clock news (with a very young Rowan Atkinson, Mel Smith and Griff Rhys Jones) Poke fun at the changing face of the gramophone!!
Records themselves became an art form in the 70’s onward . The large surface meant that the designs of the albums and the discs themselves became part of the attraction of collecting vinyl. Something that many Vinyl collectors still value today.
All of these improvements kept the record on top as the music industry’s champ, even though from the late 60’s on, there was a new kid on the block – the eight-track player.
The eight-track was popular because of it’s portability, it’s ability to record onto and was able to do one thing especially well that the record player did dismally – it could play music in the car.
Yet despite losing a little market share the record industry was still the king.
Cliff Richard loved his walkman, but his friends loved spandex more!
Then in the 80’s a new invention hit the footpaths attached to the heads of joggers everywhere, the Sony walkman, inventions like this and the rising popularity of portable cassette recorders meant that the compact cassette which had been around in one form or another since the mid sixties suddenly became very popular.
The cassette, like the eight track was even more portable, and like the eight track could be recorded onto, cassette decks started to appear everywhere and really starting giving the humble record a run for it’s money.
Yet the record player was still seen as the better quality device, in fact it was popular practice to buy the record, use it for playing on the stereo at home, and create a dub or copy onto a blank cassette for the car, the walkman or the radio cassette recorder (boombox/ghetto blaster).
The final challenger to the record arrived in ’82, the Compact Disc.
Initially only making a splash with digital audiophiles and the wealthy’s lounge rooms, it was too expensive, but still garnered a lot of press.
CD’s were more portable than cassettes and Eight-tracks, and was marketed as having a higher sound quality than record players, , they meant that they started to replace the record at home as well.
As CD player prices came down their popularity increased and CD’s quickly began to take over the record’s market.
By 1988, for the first time since it’s rise to prominence. After being number 1 for nearly a century, the Gramophone sold less units than it’s competition – The Compact Disc had become King.
CD’s and Cassettes were the dominant consumer listening formats.
The demise of Vinyl’s popularity, was swift, dropping suddenly between ’88 and ’91.
Seen by some as a calculated ploy to make consumers switch to he more profitable format -CD’s, distributors began charging retailers more for new product if they returned unsold Vinyl, then started to refuse to give credit for any returns at all.
This caused retailers to only (conservatively) order titles that they believed would sell, thus giving more shelf space (a premium) to CD’s and Cassettes.
Then finally record companies deleted many vinyl titles for production and distribution.
It was all over for the record player.
Or was it?
The effect that the phonograph and gramophone has had on music is immense, simply enormous. For the first time in history, music could be captured in time, a performance could be immortalized and replayed at will. Sound could be preserved.
The durations available on records have shaped the length of pop songs, it’s supported and help sustain the radio industry, it’s helped create the values of generations, and was one of the loudest voices of the counter-culture revolution of the sixties. It’s given an untold amount of people pleasure, and many an opportunity for rock stars to drive their cars into a pool.
The wheels of steel, the ones and two's, Note the pop up light to see the record grooves in dark night clubs (amongst other things)
But their story has not ended.
Let’s go back to the 70’s for a moment..
My personal favorite 70’s improvement and one that doesn’t get a lot of press, happened in 1979. Technics added a pitch (speed) control to it’s SL-1200 model record player, making it the MKII. This was done from advice based on a very real need from DJ’s. This simple improvement gave much more control to their beat mixing.
The Technics 1200 MKII turntable is still very much in production, is one of the most popular turntables ever sold and is known as the DJ and turntablists best friend.
.
.
In 2001 The National Association of Music Merchandisers (NAMM) officially recognized the turntable as an instrument.
And Here’s Why… DJ FLY DMC World Champion 2008 on the wheels of steel.
(warning this clip contains explicit lyrics and some implicit licks!)
That year it outsold guitars at a 2-1 ratio.
The digital revolution of mp3’s and the like has had an impact, on the DJ industry, but the record is still the format of choice for most.
This isn’t just because of the sound, Records are tactile, the DJ can pick up the needle and place it where ever they please in micro seconds, for speed and pitch control the DJ can slightly slow the record down or speed it up with the pressure and movement of his hand and wrist. The control cannot be matched.
Many house and techno artists only release on Vinyl.
New technologies such as CD platters have helped but are still not as good.
Now technologies such as final scratch have helped bridge the gap between the digital formats (mp3’s) and vinyl. Final scratch and other similar applications very cleverly use a timecoded vinyl control record. This contains an incremental digital signal that is sent back to the digital player and mapped over the chosen digital track, thus giving the DJ tactile control over the digital format.
But it’s not just DJ’s that are still buying Vinyl. It’s also very popular in genres such as alt-metal, hardcore punk and indie-rock.
Audiophiles and collectors are increasingly being joined by young people as they discover that in a digital world the tactile feel, the artwork, and the sound is a beauty that cannot be replaced by a mp3 and a jpeg.
In the United states Vinyl sales have been increasing steadily. Sales between 06-07 increased by 85.5% and increased again by 89% the following year. In 2009 record sales were up again this time by 35%. Meaning 2.9 million units shipped. This does not include boutique records or 2nd hand sales.
It should be stated that this only accounts for less than 1% of total unit sales in the U.S.
But what it does tell us is that the resurgence of Vinyl doesn’t look to be just a fad.
Meanwhile sales of CD’s are plunging, mainly being replaced by digital downloads.
Sales for CD’s dropped 20% in America in 2009.
Will the record player stand up against the test of time?
![Tyhe old meets the new... The record player still lives "brewha ha ha ha!" [evil laugh]](http://theracemusic.net/wp-content/uploads/2010/02/ipod-usb-turntable-300x225.jpg "ipod-usb-turntable")
The old meets the new... The record player still lives "brewha ha ha ha!" -evil laugh-.
I think so, one of the most popular components being sold in music stores these day’s are turntables with USB chords to plug straight into the computer…
Who knows what’s around the corner…
.
CLICK HERE for the previous chapter
CLICK HERE for the INDEX of History Of Electronic Music
Posted by Angelika in THE HISTORY OF ELECTRONIC MUSIC Sunday, 28 February 2010 15:14 No Comments
Part 15. The Other French Revolution.
Welcome back!
It's really easy to work.. that bit goes there and through that other thing, then you move that other piece while moving that thingy..simple huh!?
In the last part of our journey we discovered how the town clock was turned into the watch, and the carillon was turned into the music box.
Today we continue the story of mechanical music, and this time we’re going to look at how a loom was turned into a computer!
Our story starts in a French textile in Lyon.
Basile Bouchon was a textile worker, and the son of an organ maker.
One of the most tedious and time-consuming parts of the weaving process was setting up the draw loom. Basile most probably was influenced by his father’s mechanical skills, particularly the use of a barrel to program songs. In 1725 Basile had the brilliant idea to use perforated paper tape(holes punched out of them) to control weather or not the chords on the warp of the loom would trigger. This was great lateral thinking as the wooden or metal barrels used in organs were not practical for the weaving process,
This served to partially automate the task, but still required a draw boy to control the operation.
In 1728 Jean Fouchon expanded the number of chords that could be automated and eliminated some mistakes in the lifting of threads by re-arranging the holes into rows and changing from a paper loop to rectangular paper that could be joined together even to create an endless loop if necessary.
In 1741 the process was improved slightly by Jacques de Vaucanson,
An inventor whom actually deserves his own installment ( soon)
The problem was not solved until 1801 by Joseph Marie Jarcquard (actually formally Joseph Marie Charles).
He was the son of a silk merchant and was boy around 1750, a time when cloth weaving was a big industry especially in Lyon. Jarcuard was made to work at his fathers loom as a drawboy. His job was to sit inside the loom and lift or move the threads depending on his fathers direction, this job meant long time consuming and very tedious hours.
As a boy he did not receive any education and was illiterate until the age of 13, when his brother in law, a printer and book seller both taught him and introduced him to scholars and learned societies.
After dabbling in various unprofitable ventures Jacquard started to toy with loom and weaving inventions, but his revolutionary invention was put on hold, because of the disruption caused by the other one, err, that is the French revolution.
In 1803 his invention was complete, he had created an fully automated system that contary to popular belief was not a new loom but a “head’ that could be attached to pre-existing looms of the time.
He system was one of punch cards and hooks. These think paper cards had holes punched into rows, each row corresponded to a row in the design. The needles and hooks used for the weaving were guided by the holes in the cardboard. When the hooks hit a hole it would pass through the card and with the needle insert a thread.
The Jacquard card punching system replaced the boring job of weaving with the dull job of punching holes in cardboard..or should that be card bored?!
The simplest of repeating designs would fit onto a single card, the more complex the design the more cards needed. Heavily brocaded materials were often created by shuffling through a whole deck of cards.
Before his invention the amount of time it took to create a complex pattern eliminated most of the profit made on the sale.
Now ordinary workmen could produce beautiful patterns that normally took great skill patience and a lot of work. It sped up manufacturing dramatically and got rid of the need for the draw boy.
His invention was at first fiercely opposed by many silk weavers fearing that his invention would mean they would be out of jobs, in fact Jaquard was almost killed by an angry mob and many of his looms were destroyed. (remember this is not long after the revolution)
However Nepoleon thought his invention was marvelous, declared the Jaquard loom (or head) public property, gave Jacquard a pension and a royalty on each machine created.
He must have died a rich man, because by 1812, it is reported that an estimated 11,000 looms were working in France.
Punch cards were a revolutionary way to store information, and to retrieve information in the form of a sequence of operations.
Eccentric English mathematician Charles Babbage, would later use this idea as part of his designs for his analytical engine (1837-71) now known as the direct precursor to the modern computer.
In 1890 a statistician named Herman Hollerith used punch cards to organize and sort his data from the 1890 U.S Census. His company would eventually become IBM, whom famously used punch cards in much of it’s programming and data storage work in early computers.
But it is for the revolution that was created in the music industry that is the main reason we include him today.
To find out just how this changed how we listened to music click here for part 16.
But before you do have a close look at this image!
It’s portrait of Joseph-Marie Jacquard our hero from the above story..
What makes it truly incredible is that is actually a woven piece of silk 85 x 66cm and was created by the weaver Michel-Marie Carquillat, at Lyon, France in 1839.
The image also incudes Michel-Marie’s name and caption.
As the historyofscience.com reports
“This image, of which only about six examples are known, was woven on the Jacquard loom using 24,000 Jacquard cards, each of which had over 1000 hole positions. The process of mis en carte, or converting the image details to punched cards for the Jacquard mechanism, for this exceptionally large and detailed image, would have taken several workers many months, as the woven image convincingly portrays superfine elements such as a translucent curtain over glass window panes. Once all the “programming” was completed, the process of weaving the image with its 24,000 punched cards would have taken more than eight hours, assuming that the weaver was working at the usual Jacquard loom speed of about forty-eight picks per minute, or about 2800 per hour. More than once this woven image was mistaken for an engraved image. The image was produced only to order, most likely in an exceptionally small number of examples. The only recorded examples are those in the Metropolitan Museum of Art, the Science Museum, London, The Art Institute of Chicago, and the Computer History Museum, Mountain View, California.”Wow!!!!
Ready for the next chapter? CLICK HERE FOR PART 16
CLICK HERE for the previous chapter
CLICK HERE for the INDEX of History Of Electronic Music
Posted by Angelika in THE HISTORY OF ELECTRONIC MUSIC Monday, 22 February 2010 14:11 No Comments
THE HISTORY OF ELECTRONIC MUSIC
Part 14. How to Fit an Orchestra in a Cabinet..
Today we continue the story of how mechanical music became part of everyday life.
Gee mum that's a heck of a cookoo clock!
In 1354 an astronomical clock was completed at the cathedral in Strasbourg France. The “Three Kings Clock” had installed several automata, which included a bird made of copper iron and wood, that flapped it’s wings, put out it’s feathers, opened it’s beak stuck out it’s tongue and crowed (using a reed and bellows). The clock also had another display featuring the three kings bowing before the baby Jesus at noon. This was accompanied by a tune played with a set of miniature carillon.
In 1500 The Arch Bishop of Salzburg in Austria ordered a mechanical organ to be built, it had no keyboard to be played manually, initially like the bell it was originally designed as a communication device, sounding the start and the end of the day throughout the city.
Almost 150 years later a barrel mechanism similar to that of those of carillon’s was installed and for the next 150 years it could only play the one song ( and you thought you get sick of hearing pop songs on the radio!)
In 1753 Leopold Mozart the Father of the more famous Wolfgang composed a further 11 pieces for it. Today unfortunately only 9 survive. These type of instruments became known as “barrel organs”
These inventions may seem like a novelty today, but created and installed in places of such cultural significance, these were seen as the very latest wonders of mechanical technology,
It was not long until rich landowners, were having much smaller barrel organs built to be installed at home, to entertain themselves and their guests. The amazing thing.. they also had automata and were controlled much the same way as Ktselbiios and Hero had first designed them, yep you guessed it they were the Hydraulis!
By the late 1500’s this technology was used to create “flute clocks”, the clock and pipes were powered not by water but by a weight hung from a string.
Once again the pins on the barrel opened valves on the organ pipes.
To say that these became popular was an understatement, these were the iPhone of the day, in fact Germany’s Black Forest became the capital for organ building, between 1359 and 1780 there were more than 200 successful busy organ building companies.
It was in the 1700’s that automatic organs with keyboards, became popular in church’s across Europe. This was mainly due to the greater complexity in the pieces composed and general lack of talented organ players up to the task.
This technology also evolved to crank operated organs made famous by the image of the organ grinder and his monkey.
The real ones were covered in wood on the outside... this saved many a cat's life.
In the mid to late 1800’s the equivalent of the 68 inch plasma screen for the rich and famous, was the “Orchestron”.
They were designed to simulate an orchestra, somehow by just using organ pipes and percussion instruments! Once again the music was played by detachable barrels with raised pins.
It’s first version appeared at the start of 1800, was called “ThePanharmonicon”, was invented by Johann Nepomuk Maelzel and was made even more famous because Beethoven composed his celebration of the defeat of Napoleon “Wellingtons Sieg” on it.
This thing was huge! (see photo)
Because of the percussion involved, this was the first truly polyphonic orchestral instrument.
Just like comparing the first computers to the modern day devices such as pda’s, just think about what we can use today to play full hi-fidelity sound, compare this behemoth to the Apple Shuffle!
By about 1850, smaller more compact versions become available for the wealthy to have installed in their homes… I say smaller, but they would often take up an entire wall..
These for all intents and purposes were the first juke boxes, the first hifi’s, these we’re the start of music players with selectable music made for home entertainment. They were created for those that were not quite rich enough to afford musicians on staff.
America with it’s large amount of millionaires became a huge market for the manufactures of Orchestrons.
Toward the end of the 19th century simultaneously in America and Europe , the technology spawned yet another version of the Orchestron. This time they were not made smaller for indoors, but were made for outdoors were often larger and always louder!
The automated organ had evolved into Europe’s Fair Ground Organs and America’s Band Organs.
These brash instruments were designed to be installed at circuses, carnivals, merry go rounds and ice skating rinks, and they were made to be loud! Their music was used to draw crowds, and be heard above them, the carnival rides and the noise of the carousel. These also had percussion effects, usually a bass drum, a cymbal and a snare, and often had ranks and ranks of pipes.
So the time was ripe, the marketing was everywhere these mechanical machines were a wondrous part of musical society.
Now the question asked was what can we do to make this available for many not just the few..
..and one of the answers arrived on paper that was in no language that had ever existed..
Tune into part 15 to find out what!
CLICK HERE for the previous chapter
CLICK HERE for the INDEX of History Of Electronic Music