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Taped Music in Concert
Phonograph Recordings and Radio Broadcasts
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acoustic activity American Society aspects audience become Boulez broadcast composer's concert hall control voltage David Cope device difficulties elec electronic sounds elements Elliott Carter Elliott Schwartz equipment example fact factors filter four-channel frequencies Furthermore gesture Gordon Mumma Guide New York Hermann Scherchen imagination input instruments inter-media interaction involved Jan LaRue Joel Chadabe Jon Appleton Jon H Karlheinz Stockhausen lack limited listener Listener's Guide live performance live-performance synthesizer live-plus-tape loudspeaker mance ment microphone mixed-media composition Morton Subotnick Music Journal musicians notation operations output performer and tape performer's phonograph recording piece Pierre Boulez playback played possibilities potential Practice of Electronic pre-recorded presentation of electronic presentation of taped presenting electronic music problems produced radio real-time realization result situation social ritual Society of University speakers specified splicing studio tape recorder taped electronic music timbre tion tronic music University Composers visual Vladimir Ussachevsky voltage-controlled amplifier Werner Kaegi writer