Electronic Musical Instruments

La realizzazione del brano Incontro di Giorgio Nottoli, ci ha posto di fronte a varie e profondamente diverse questioni, esse affrontate con i giusti mezzi ci hanno permesso di iniziare a realizzare gli strumenti necessari per l’interpretazione ed una futura esecuzione dello stesso.
I documenti forniti dall’autore, oltre ad il manuale dello strumento principe(l’EMS VCS3) di questa composizione hanno reso più semplice il lavoro di porting dello strumento, facendoci intendere a fondo come realizzare digitalmente uno strumento analogico complesso e composto da varie tipologie interconnesse di hardware.
FAUST2 e Max3 ci hanno aiutato lungo il percorso; permettendoci di realizzare lo strumento digitale ponendoci una "tabula rasa" capace di farci capire ed intendere quali scelte algoritmiche effettuare a seconda degli aspetti fisici necessari, mostrando ed ampliando le capacità espressive dell’esecutore ed estendendole attraverso l’utilizzo di adeguati mezzi elettronici.
Il seguente testo affronterà dunque uno degli aspetti piú interessanti dello strumento VCS3, ovvero la matrice di cui lo stesso si avvale per connettere tutti i frammenti del "puzzle strumentale elettronico", facendo da fil rouge tra filtri oscillatori ed effetti che Zinovieff4 introdusse in questo primo strumento "commerciale".

This paper is an attempt to create a theoretical foundation for equal division of the octave (EDO) tunings. It is specific to 15 notes per octave (15 EDO) tunings, but should be applicable to more broadly. The majority of the non12tone compositions that I am aware of either use a modified version of 12 EDO scales (major, minor, etc.), or simply use trial and error to find interesting melodies and harmonies. I have found a way to define 15 EDO scales according to their own character that should help composers work with any EDO tuning. Section 1. Tuning The tuning I use is based on the way I discovered microtonal non12tone music. I was aware of microtones as used in Indian and midEastern music, (although I only learned about the theory behind them relatively recently). I was not aware of non12tone music when I read about a method of setting 12tone equal temperament notes in the book "e, The Story of a Number" by Eli Maor. In this, an imaginary meeting between Johann Bernoulli and J. S. Bach is portrayed, in which Bach describes the difficulty in determining the frequency of notes in an equal temperament tuning. Bernoulli immediately grasps the problem and presents a mathematical solution, which is to graph a logarithmic spiral and intersect it with 12 lines that are spaced at equal angles around the origin of the XY axis.

De la musique cinétique aux dispositifs instrumentaux, des nouvelles interfaces à la notion de topophonie, en passant par les programmes audiographiques ou la synthèse granulaire, le compositeur électroacoustique, designer sonore et enseignant Roland Cahen, dresse la liste des recherches, des directions et des innovations qui ont transformé la musique et la lutherie électronique depuis le début du 21 e siècle. Article de référence initialement publié dans le catalogue de l'Exposition

The theremin is one of the first electronic musical instruments and one of the few played without physical contact since it only requires hand and finger movements to control the amplitude and frequency of the musical note. However, the capacitive functioning of the antennas increases the sensitivity to electrical interference, its timbre is fixed, and the frequency antenna's vertical arrangement could limit the use of people with amputated fingers. Furthermore, it does not contain any help to guide the execution, which makes it a very difficult instrument to play. In this paper, we present the development of a digital optical theremin with an audio synthesis process, intuitive graphical interface, frequency antenna in the horizontal position, and linearization of the frequency-distance relationship. These features are intended to aid learning and interpretation of the instrument and extend access to people with finger limitations. In order to validate the instrument's behavior and characteristics, we conducted three experiments: 1) accuracy analysis of the linearization through the mean absolute error in units of cents and the Kruskal-Wallis statistical inference test, 2) validation of the steps of the audio synthesis module, and 3) checking of the timbral diversity, both through the Fourier spectrum. This prototype could be used as an auxiliary tool in musical initiation and the development of musical perception.

The article is dedicated to the issues associated with the way toward learning the specialty of performing on electronic melodic instruments. Specifically, the program "Electronic melodic instruments in contemporary music instruction", which is planned to improve the abilities of music instructors of optional schools, instructors of Children's Schools of Art, Palaces and Houses of Inventive Work, Centers of Extracurricular Activities with understudies and different foundations of the arrangement of extra kids' instruction, is considered. The primary motivation behind the program is to acquaint instructors with contemporary strategies what's more, frameworks of preparing, advancement of electronic melodic instruments and advanced consoles. The requirement for the presentation of this program has a few reasons. As a matter of first importance, it is the enthusiasm of youngsters to contemporary data advances and their application, in specific, in the field of electronic and PC music, just as the need to improve the data and expert fitness of educators’ artists. Figuring out how to play electronic melodic instruments secure an extraordinary pertinence in the arrangement of general music training at the school of the Digital Age, such an opportunity can likewise be given in the arrangement of extra training of understudies. In any case, the likelihood of learning at Electronic Musical Instruments is accessible, at any rate, under one, however definitive condition – the accessibility of exceedingly qualified educating staff. Today, there are most certainly not enough pros sought after in the class of electronic melodic instrument, and thusly the educators need to meet the necessities of contemporary society regarding the increment in social interest for a larger amount of polished methodology, it is important to complete a subjective instructive procedure and learn the upgraded one, incorporating computerized advancements in the field of craftsmanship. Available online at https://int-scientific-journals.com