sound machines

Anthropomorphic projection 1600-1900
Parallel universe 1900-1925
New structures 1925-1950
The opening up of sound 1950-1975
Underlying complexity 1975-2000
Emergence 2000-

This subject explores the impact of 20th-century technology on music and examines the connection between music and the modern world.

emphasizes the notion of shaping and crafting sound in a way that resembles the work of a sculptor with physical materials, but here, the medium is sound.

Like many, I experienced moments of doubt and uncertainty when I first embarked on this writing journey. I questioned whether my words held any significance, whether they would resonate with others or simply vanish into the vast expanse of the internet. But as I delved deeper into the craft, I discovered a truth that forever changed my perspective.

Period 1

Sure! Here’s a rewritten version of the passage:

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Between 1925 and 1950, scientists made significant advancements in understanding atomic structure. In Copenhagen, Werner Heisenberg, working alongside Niels Bohr, introduced the Uncertainty Principle. This principle, which became central to the Copenhagen Interpretation of Quantum Mechanics developed between 1925 and 1927, posited that the position and momentum of an electron cannot be simultaneously determined with precision. Albert Einstein, in a letter to physicist Max Born on December 4, 1926, famously expressed his reservations about quantum mechanics, stating, “Quantum mechanics is certainly impressive. But an inner voice tells me that it is not yet the real thing. The theory says a lot, but it does not really bring us any closer to the secret of the ‘old one’. I, at any rate, am convinced that He is not playing at dice.” Born responded by affirming the accuracy of their mathematical framework and expressing confidence in its eventual validation.

In 1932, Einstein relocated to the United States to join Princeton University.

As the 20th century progressed, new ideas about time and technology emerged, and as electricity became more integrated into daily life, the arts and music began to evolve in response.

One notable development in the 1920s was the invention of the theremin by Leon Theremin, a student at the Physico-Technical Institute in Moscow. He demonstrated his creation to his professors in 1920 and later to the 8th All-Russia Electro Technical Congress in 1921. This led to a presentation before Vladimir Lenin, who was then the leader of Russia. Lenin was so impressed that he sent Theremin on a tour to promote electricity across Russia, Europe, and eventually to New York in 1927. That same year, Clara Rockmore, a violinist, also arrived in New York and became a leading figure in performing the theremin. The instrument, which is played by manipulating hand positions relative to two antennas to control pitch and volume, remains popular today. An example of its use is Rockmore’s performance of Saint-Saëns’ “The Swan” with her sister, Nadia Reisenberg, on the piano.

Other electronic instruments emerged during the first half of the 20th century, such as the Trautonium, invented in Berlin in 1928 by Friedrich Trautwein and Paul Hindemith. Oscar Sala later performed Hindemith’s “Langsames Stück und Rondo” on the Trautonium. Another instrument, the Ondes Martenot, was developed in Paris by Maurice Martenot in 1928. Geneviève Grenier performed pieces like Maurice Ravel’s “Pavane pour une infante défunte” and Erik Satie’s “Gymnopédie No. 1” on the Ondes Martenot.

The Hammond organ was another significant innovation, introduced successfully in 1935. Although Theremin returned to Russia in 1938, his instrument continues to be recognized and used to this day.

In 1919, Austrian composer Josef Matthias Hauer published “Nomos, Op. 19,” which introduced a new musical structure known as “the law of the twelve tones.” This system required all twelve notes to be played before any could be repeated. Arnold Schoenberg adopted this technique in 1921, moving away from atonality and establishing what became known as the “twelve-tone system.” This method was further developed by members of the Second Viennese School, including Alban Berg and Anton Webern, alongside Schoenberg. The First Viennese School, by contrast, was associated with composers like Joseph Haydn, Wolfgang Amadeus Mozart, and Ludwig van Beethoven in late-18th century Vienna.

Schoenberg moved to the United States in 1933 and began teaching at UCLA in 1935, where one of his students was John Cage. Cage admired Schoenberg and received praise from him for his originality.

Cage made an early prediction about the future of music in a 1937 talk titled “The Future of Music: Credo” at the Cornish School in Seattle, where he worked as an accompanist for the dance program led by Bonnie Bird. Cage suggested that music in the future would encompass all sounds, stating, “Wherever we are, what we hear is mostly noise. When we ignore it, it disturbs us. When we listen to it, we find it fascinating. The sound of a truck at 50 mph. Static between the stations. Rain. We want to capture and control these sounds, to use them, not as sound effects, but as musical instruments…”

In 1938, while accompanying a dancer at the Cornish School, Cage experimented by placing screws, pieces of rubber, and other objects inside a piano, creating what became known as the “prepared piano.” His best-known work for prepared piano is “Sonatas and Interludes,” composed between 1946 and 1948. Cage also composed “Imaginary Landscape No. 1” in 1939 in Seattle, which featured two variable-speed turntables, a muted piano, and a large Chinese cymbal.

Meanwhile, Canadian scientist Hugh Le Caine, working at the National Research Council in Ottawa, made significant strides in the development of electronic instruments. He demonstrated his keyboard-based synthesizer with an excerpt from George Gershwin’s “Rhapsody in Blue.” Le Caine continued to refine his invention, the Electronic Sackbut, into the 1950s. This instrument allowed for pitch bending and timbre control through the movement of keys and strings.

In 1954, Le Caine performed Gershwin’s “Rhapsody in Blue” on his Sackbut, marking a significant moment in the evolution of electronic music.

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This version maintains the essence of the original content but presents it in a fresh, original way.

So, I started writing because I wanted to make a difference, no matter how small or profound. I wanted to create a space where people could find inspiration, solace, and a sense of belonging. Through my words, I aim to capture the essence of the human experience, to celebrate the simple joys and navigate the complexities of life together.

As I embark on this writing journey, I invite you to join me. Let’s explore the vast landscapes of imagination, dive into the depths of emotions, and embrace the transformative power of words. Together, we can create a tapestry of stories that illuminate the human spirit, spark conversations, and inspire others to discover the beauty of their own unique narratives.

So, dear readers, let us embark on this wondrous adventure together, fueled by our shared passion for writing and the limitless possibilities it holds. Let us discover the magic of storytelling and the profound impact it can have on our lives and the lives of those around us. Welcome to a world where words dance, emotions sing, and dreams take flight. Welcome to the extraordinary journey of writing.