The place of electronic music in the musical situation = Zur musikalischen Situation / Herbert Eimert ; translated by D. A. Sinclair.
| Author/creator | Eimert, Herbert |
| Format | Book |
| Publication Info | Ottawa : [publisher not identified], 1956. |
| Description | 14 leaves ; 28 cm. |
| Subjects |
| Series | National Research Council, Canada. Technical translation ; TT-610 Technical translation (National Research Council of Canada) ; TT-610. UNAUTHORIZED |
| Contents | Imitation and background effects -- The opportune moment of history -- Concept and realization -- Fundamental theoretical concepts -- New systems of arrangement. |
| Abstract | Electronic music involves new acoustical phenomena and is not identical with the playing of electronic musical instruments. It differs equally from the acoustical backgrounds of films and radio plays. The first stage of its history includes such notions as the division of sound (Busoni) and timbre shaping (Schönberg). Jörg Mager followed up both these ideas, but it was not until the development of methods of sound storage and the application of magnetic tape that electrically produced sound became available as raw material for composition. The electronic-music composer is confronted by the task of having to create, in this new and unlimited medium, orderly relationships and definite standards of form. Direct points of contact result from the present situation concerning "abstract" music, which in many recent instances has reached the limits of "playability". Work done with sinusoidal tones as well as with certain complex sounds releases new structural dimensions. Precise definition of the work is a fundamental technical and musical requirement of electronic music. |
| General note | "From Tech. Hausmitt. NWDR, 6: 42-46, 1954." |
| General note | "Paper no. 10 in a special collection of twelve papers on electronic music published by the Northwest German Broadcasting System." |