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References
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Frequency Modulation (FM) Synthesis
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Other FM Configurations
Musical Examples
Sabelithe
by John Chowning, 1966/71 [6'23”] (available on Spotify):
First ever piece to use FM synthesis;
Computers at Stanford AI lab were disconnected and moved during initial work on the piece;
Lack of computer memory required the piece to be spliced together on analog tape;
Incorporates gradual transformation of snare-drum like sound into a trumpet-like sound (near 5' mark).
Turenas
by John Chowning, 1972 [12'33”]:
Anagram of “Natures”;
Originally synthesized using Leland Smith's SCORE and MUSIC 10;
Then reformatted for realtime synthesis on the System Concepts Digital Synthesizer;
Four-channel work exploring perception of moving sound sources using doppler shift.
Stria
by John Chowning, 1977 [9'58”]:
Originally synthesized using Leland Smith's SCORE and MUSIC 10;
Then reformatted for realtime synthesis on the System Concepts Digital Synthesizer;
Non-tonal division of the frequency space and the ratio of non-harmonic spectral components;
Relationships of both time and frequency stem from projection of the golden-mean ratio;
Pitch space defined as occupying eight pseudo-octaves ... in the ratio of 1:1.618 instead of 1:2;
Each pseudo-octave is divided into nine equal-interval frequency divisions.
Phoné
by John Chowning, 1980-81 [16'57”]:
Realized with the System Concepts Digital Synthesizer;
Short impulsive sounds combined with long, slowly changing sonorities;
Spectral “fusion” between bell-like percussion sounds and timbres of sung vowels;
Use of vibrato to change perception of timbres from electronic-sounding to vocal-like;
Gradual increase in singing sounds, including “basso profundissimo”.
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