My consistent and overriding artistic goal, ever since the earliest compositions of my student da... more My consistent and overriding artistic goal, ever since the earliest compositions of my student days, has been to create m usical forms that suggest the search for psychological and spiritual unity beyond seemingly impenetrable veils of confusion and juxtaposition. That such unity exists — must exist — is one of my deepest convictions. That modern society presents an unprecedented network of complex parallel worlds, apparently so completely disconnected from each other, only amplifies my feeling that the search for deeper truths lies at the heart of our attempt to keep inter-personal and inter-cultural communication from breaking down and disappearing entirely. Because of its very neutrality and flexibility, computer music technology has long suggested itself to me as the ideal medium in which, paradoxically, the differentiation of musical materials can be intensified while ever-deeper layers of sonic coherence are established.
Journal of the Acoustical Society of America, May 1, 2017
David Wessel was a musical visionary who combined scientific rigor, technological savvy, and soni... more David Wessel was a musical visionary who combined scientific rigor, technological savvy, and sonic adventure to powerfully influential the formative years of Pierre Boulez’s IRCAM in Paris. Wessel was trained in mathematics and percussion, receiving a Stanford Ph.D. in musical psychoacoustics. He brought these specialties to computer music at the crucial moment when real-time digital synthesis was being developed. His Antony (1977) was the first musical work to use Giuseppe di Giugno’s 4A machine, and his Timbre Maps (1978) demonstrated for the first time that sonority alone could produce structural relationships. Wessel brought free-jazz principles to live computer music performance, and was a pioneer in understanding and influencing the development of MIDI. Wessel became IRCAM’s Director of Pedagogy in 1980, and in that role inspired a generation of international composers, technologists and scientists, a veritable Who’s Who of today’s most prominent creators. As a member of IRCAM’s Artistic Committee, Wessel influenced the selection of artists for IRCAM residences and helped to invent a successful model for combining pedagogy, research and creation. Above all, David Wessel’s omnivorous love of all kinds of music, and his deep generosity, brought an unequaled spark of humanity to the world of man, music, and machines.
... CiteULike is a free online bibliography manager. Register and you can start organising your r... more ... CiteULike is a free online bibliography manager. Register and you can start organising your references online. Tags. Hyperinstruments: Musically intelligent and interactive performance and creativity systems. ...
Analog Days The Invention and Impact of the Moog Synthesizer. Trevor Pinch and Frank Trocco. Harv... more Analog Days The Invention and Impact of the Moog Synthesizer. Trevor Pinch and Frank Trocco. Harvard University Press, Cambridge, MA, 2002. 384 pp. $29.95. ISBN 0-674-00889-8. Constructing their account from interviews with the inventors, engineers, and musicians who worked with the Moog, the authors discuss the invention, development, and impact of electronic synthesizers in the 1960s through mid-1970s.
Morton Subotnick and Tod Machover discuss a variety of issues relating to the use of computers in... more Morton Subotnick and Tod Machover discuss a variety of issues relating to the use of computers in music, and the integration of new resources into the culture. They discuss new instrument development, performance practice and the assimilation of new musical materials in the context of Subotnick's long history of activity in these domains. The interview took place at the 1989 International Computer Music Conference at Ohio State University, and was updated in 1994.
My consistent and overriding artistic goal, ever since the earliest compositions of my student da... more My consistent and overriding artistic goal, ever since the earliest compositions of my student days, has been to create m usical forms that suggest the search for psychological and spiritual unity beyond seemingly impenetrable veils of confusion and juxtaposition. That such unity exists — must exist — is one of my deepest convictions. That modern society presents an unprecedented network of complex parallel worlds, apparently so completely disconnected from each other, only amplifies my feeling that the search for deeper truths lies at the heart of our attempt to keep inter-personal and inter-cultural communication from breaking down and disappearing entirely. Because of its very neutrality and flexibility, computer music technology has long suggested itself to me as the ideal medium in which, paradoxically, the differentiation of musical materials can be intensified while ever-deeper layers of sonic coherence are established.
Journal of the Acoustical Society of America, May 1, 2017
David Wessel was a musical visionary who combined scientific rigor, technological savvy, and soni... more David Wessel was a musical visionary who combined scientific rigor, technological savvy, and sonic adventure to powerfully influential the formative years of Pierre Boulez’s IRCAM in Paris. Wessel was trained in mathematics and percussion, receiving a Stanford Ph.D. in musical psychoacoustics. He brought these specialties to computer music at the crucial moment when real-time digital synthesis was being developed. His Antony (1977) was the first musical work to use Giuseppe di Giugno’s 4A machine, and his Timbre Maps (1978) demonstrated for the first time that sonority alone could produce structural relationships. Wessel brought free-jazz principles to live computer music performance, and was a pioneer in understanding and influencing the development of MIDI. Wessel became IRCAM’s Director of Pedagogy in 1980, and in that role inspired a generation of international composers, technologists and scientists, a veritable Who’s Who of today’s most prominent creators. As a member of IRCAM’s Artistic Committee, Wessel influenced the selection of artists for IRCAM residences and helped to invent a successful model for combining pedagogy, research and creation. Above all, David Wessel’s omnivorous love of all kinds of music, and his deep generosity, brought an unequaled spark of humanity to the world of man, music, and machines.
... CiteULike is a free online bibliography manager. Register and you can start organising your r... more ... CiteULike is a free online bibliography manager. Register and you can start organising your references online. Tags. Hyperinstruments: Musically intelligent and interactive performance and creativity systems. ...
Analog Days The Invention and Impact of the Moog Synthesizer. Trevor Pinch and Frank Trocco. Harv... more Analog Days The Invention and Impact of the Moog Synthesizer. Trevor Pinch and Frank Trocco. Harvard University Press, Cambridge, MA, 2002. 384 pp. $29.95. ISBN 0-674-00889-8. Constructing their account from interviews with the inventors, engineers, and musicians who worked with the Moog, the authors discuss the invention, development, and impact of electronic synthesizers in the 1960s through mid-1970s.
Morton Subotnick and Tod Machover discuss a variety of issues relating to the use of computers in... more Morton Subotnick and Tod Machover discuss a variety of issues relating to the use of computers in music, and the integration of new resources into the culture. They discuss new instrument development, performance practice and the assimilation of new musical materials in the context of Subotnick's long history of activity in these domains. The interview took place at the 1989 International Computer Music Conference at Ohio State University, and was updated in 1994.
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