lundi 14 avril 2008

The Sounds And Music Of The RCA Electronic Music Synthesizer (1955)

Side 1: The Synthesis of Music-The Physical Characteristics of Musical Sounds (7:13, 3.3 mb)
Side 2: The Synthesis of Music-Synthesis by Parts (Part 1) (5:55, 2.7 mb)
Side 3: The Synthesis of Music-Synthesis by Parts (Part 2) (4:37, 2.1 mb)
Side 4: Excerpts from Musical Selections (Part 1) (6:05, 2.8 mb)
Side 5: Excerpts from Musical Selections (Part 2) (3:28, 1.6 mb)
Side 6: Complete Selections-Bach Fugue No. 2, Brahms Hungarian Dance No. 1 (4:47, 2.2 mb)
Side 7: Complete Selections-Oh Holy Night (Adam), Home Sweet Home (Bishop) (6:42, 3.1 mb)
Side 8: Complete Selections-Stephen Foster Medley, Nola (Arndt), Blue Skies (Berlin) (7:49, 3.6 mb)
Neat'o !
23 Mo @ 64 kbps (ddaaww...)

5 commentaires:

Michael a dit…

Thank you so much!

Anonymous a dit…

wow, thanks!

Wolfgang a dit…

This is absolutely crazy. Even a piece of early synthesized singing voice can be heard. This is what I call history of electronic music. Great stuff!!

2bad a dit…

Thank you so much for this. And thank you for not using Rapidshare because it probably would not still be there for me by now.

I had heard of the RCA synthesizer but never thought I would actually hear a recording of it. Those guys were twelve years ahead of their time. Bob Moog was able to take the idea of this instrument, get rid of the vacuum tubes, add a keyboard and change music forever. Interesting that the only Bach piece they used here just happens to show up on Wendy Carlos' Switched on Bach.

Anonymous a dit…

2bad, I suggest you educate yourself more about the history of electronic music & synthesizers: it isn't as if Moog got up one day and said "hey, I think I'll redesign that old 1955 RCA w/ transistors and a keyboard - its time has come!" ...rather, e-music tech (like all tech) was evolving in many directions simultaneously, from the same theoretical foundations, motivated by (among other things) the needs of end users. The RCA synthesizer itself was constantly being upgraded & modified, & remained in use at Columbia-Princeton Electronic Music Studio up thru the '70s. You can still find many in-print recordings of modern classical compositions rendered on it. As late as 1977 (I think), Charles Wourinen won a Pulitzer for a piece realized entirely on it ("Time's Encomium"). The RCA & its ilk were designed by & for "serious" composers, who wanted to be able to specify every parameter, millisecond by millisecond, very precisely & mathematically. Whereas the Moog was designed w/ live performance in mind, as well as a new "off-the-shelf, easy-to-use" paradigm vs the RCA & other one-of-a-kind, PhD-required-to-use studio synths of the serious composers. Those guys didn't really come around to modular, portable keyboard-controlled synths like the Moog until well after rock, jazz, & library musicians had eagerly adopted & mastered them.