The sound, the sound, the clay mixture, the sound and the harmony. The harmony is identical to the newer acoustic term “sound mix”. The Sound is the simplest sound that is familiar with the ear, is a sound of a sinusoidal waveform, the so-called pure tone. This pure, simple sound or sine wave has no harmonics and therefore no distinct sound. The pure tone sounds flowing and unmodulated rigid.
Its main feature is the unboxed directness of sounding. He sounds in colour indeterminate, in relation to instruments often thick and wide. With the absence of overtones, it depends also with the fact that the ear – both the absolute and the relative hearing – at pure tones cannot easily orient how to harmonically rich sounds. Unlike intervals that are heard mostly in the sense of traditional deal, the ear is extremely sensitive to the resulting in-tune octaves and unisons vibrations. The sound differs in that it is composed of a series of harmonic partials or sine waves.
One speaks of the sound of a violin, trumpet, clarinet, etc., so it always is a composite sound, whose individual sounds perceived by the ear is not as such, but as the tone. The uniform impression of the sound comes from the fact that the frequencies of the partials harmony are the fundamental. They make whole multiples of the fundamental frequency. Since sounds are put together, they can also be broken down again. Filters do this.
The sum of the sounds of the sound is detected when the tone is determined by the number and thickness ratios of the individual oscillations. In traditional music, the timbre of the instruments is given unalterable. Electronically, however, the harmonic components of the sound can be varied so that the composer can create his own electronic instrumentality certain extent. This means that the sound the composer no longer refers done by the instruments, but itself produces.
He composed it. Even more important now is this sound composition in clay mixture, which is a broader concept of electronic music. Electronically, however, the harmonic components of the sound can be varied so that the composer to create his own electronic instrumentality.
These terms mean the same thing. They could be described with one word – aptly. The theoretical handling of minimalist works has always tried to put them in a certain drawer and to assign them to a specific direction.
Characteristics of minimal music
In the minimal music, the following features can be identified:
•Repetitive structures, i.e. juxtaposition of melodic, rhythmic or harmonic formulas or “patterns”
•Stable harmony, tonal musical language
•Additive processes by adding individual notes to the “patterns” that are altered in their rhythmic structure
•Phase shifts, overlays
•Continuity and avoid tension build.
•Timbre and density are little changed.
•Impression of a fragment of a permanent musical continuum.
•Extended concept of time: New dimensions in the duration of the pieces – a few seconds or minutes to hours, days, weeks
•Positive function of forgetting
The term “minimal music” refers to the same cultural environment of its formation. The content close to minimal art – this term was created by the philosopher Richard Wollheim in 1965 – is now also detects concept.
Principles of minimal art
The design of of minimal music is interpreted as the spatial and cultural proximity to the views. Characteristic of the minimal music is the greatest possible simplicity of musical workmanship. The “minimal music” sees only one aspect of music, namely the reduction of the material to the smallest parts, and “patterns”. This does not include effective aesthetic aspects or purely formal appearances. Therefore, there are pieces that are created in their approach to training and a performance period of several hours, as and you can find even concepts for days, weeks, months…
An effective aesthetic approach led to the formation of the concept of meditative music. It can be used for assessment and classification of purely subjective experiences and feelings. All beyond listening vertices and structural features is ignored.
Repetitive / Periodic Music
The designation as Repetitive music uses the characteristic of uniform repetition as a feature. Repetition is equated with monotony and it implies resulting boredom.
Electronic music is primarily a portion of the so-called popular culture. In general, all styles of music for Electronic counted music; mainly various electronic sound works create the music. The term electronic music, also known in short form Electro, has and foremost reasons to prevail over time, so music on an electronic basis of musical styles can be distinguished. Electro is the dominant element in the synthesizer in conjunction with so-called electronic drum machines to produce beats and rhythms.There are different styles in electronic music, as and many of the artists of this genre refer to it as a source of inspiration. The electronic music is about small details.
Electric musical instruments
It is no matter whether it is to electro-acoustic, electro-mechanical, electromagnetic-mechanical-acoustic or electronic instruments.The resulting sound of such music producer is extremely powerful.An illustrative example is the electric guitar, which was developed around 1930.
The first synthesizer
In 1964, Robert A. Moog creates the most important electronic synthesizer instrument. He put forth the first devices using the technique of voltage control, which featured all the pre-existing studio instruments in the shade. The range of variation for sound shaping an input fundamental tone is enormous with this instrument.
Electronic music with a computer
The powerful computers becoming increasingly important in the context of EM and they make the leap from the pure experimental studio. Mid-80-s, therefore, began a radical digitization of music. The term “computer music” has little to do in the context of sound production by a computer. To date, some non-linear distortion cannot be simulated identical analogue models. The age of the digital-analogue processing is still a matter of programming art.
Therefore arises whether an analogue or frequency modulation is simulated digitally is not particularly relevant. Apart from this, remain the aesthetic considerations.The “electronic computer” therefore to be regarded as full-fledged electronic musical instrument. This is accomplished most of the transition from linear to non-linear differential equations or non-linear differential equations. The difference becomes arbitrarily small with increasing scan rate.