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Articles 301 - 302 of 302
Full-Text Articles in Entire DC Network
Applications Of Béla Bartók's Techniques Of Pitch Organisation To Jazz Improvisation, Niran Jay Dasika
Applications Of Béla Bartók's Techniques Of Pitch Organisation To Jazz Improvisation, Niran Jay Dasika
Theses: Doctorates and Masters
The music of Hungarian composer Béla Bartók (1881-1945) reconciles hauntingly lyrical beauty with harsh, atonal dissonance, appealing to music fans, musicians, and theorists alike for over a century and suggesting a rich resource of inspiration for improvising musicians. The composer Pierre Boulez commented that “Whether it is in a brutal violence animating a sound material in fusion, or in a tranquil gentleness glowing in a halo of grating sounds and colours… Bartók is incomparable and remains unique”. Informed by Bartók theorists Elliott Antokoletz, János Kárpáti, Erno Lendvai, and by Bartók’s own writings, this research identifies four melodic techniques: ‘mistuning’, ‘chromatic …
The Interface And Instrumentality Of Eurorack Modular Synthesis, Eliot Bates
The Interface And Instrumentality Of Eurorack Modular Synthesis, Eliot Bates
Publications and Research
In this essay, I will examine a couple of aspects of hardware modular synthesizers which, despite not being a “new” morphological form (most commercially sold synthesizers from the 1960s through the early 1970s were modular), experienced an extremely unlikely expansion of interest and activity in the mid-1990s. With a contemporary modular synth, users buy a powered rack that holds modules specific to one of several competing formats. For the two most widely adopted formats, Eurorack (sometimes called 3U in reference to the height of modules, or Doepfer A-100 after the first branded system to adopt this panel height) and MOTM/MU …