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Premium member Presentation Transcript Slide1: Andrey Smirnov Nonlinear History Bolshaya Nikitskaya 13, 125871, Moscow, Russia Phone: (495) 629-7678 firstname.lastname@example.org http://asmir.theremin.ru http://theremin.ruSlide2: Rudolf Koenig’s “osciloscope”Slide3: Spectrum analyzer Rudolf Koenig’sSlide5: “Wavetable” synthesis Rudolf Koenig’sSlide6: Pneumatic Additive synthesizer Rudolf Koenig’sSlide7: Rudolf Koenig (?) With his pitch standardSlide10: Inventor Lev Theremin (1896-1993) playing his thereminvox - first electronic musical instrument. Early 1920-s.Slide11: Lev Theremin at NKVD (KGB) prison after his return to Soviet Russia. 1939-1947 Slide12: Building of Moscow “Sharashka” - special prison for scientistsSlide13: Classical heterodyning type Theremin CircuitrySlide16: Lev Theremin’s Great Seal Bug, “donated” to American Ambassador by Soviet “Pioneers” in 1945Slide17: Great Seal Bug construction – a sort of microwave thereminSlide19: Soviet radiolocation systems, capable to produce and detect directed microwave radiation in 1940-sSlide20: Commercial Laser-monitoring eavesdropping system, based on the same principle as Lev Theremin’s “Buran” system built in 1947Slide22: The poster of Lev Theremin’s lecture-concert (1920-s), where he presented different technical possibilities to combine music and color, music and gesture, music and tactile senses, music and smelts. Slide23: Lev Theremin’s light instrument to control colored light during the performance, 1923.Slide24: Lev Theremin’s TV system (Dalnovidenie), 1925, St.Petersburg/MoscowSlide26: Klara Rokmore (left) dancing on TERPSITON - instrument for dancer to control sound by means of body movement, New York, 1932Slide29: Lev Theremin’s automatic door opening system Slide30: Audio delay line, based on heating (1960-s)Slide32: Military research at Moscow State Conservatory, 1940-sSlide33: Poet Alexei Gastev (right), founder of the Central Institute of Labour, 1922 and psychologist Nikolai Bernshtein (left) with Maxim Gorki (center).Slide35: Nikolay Bernshtein’s biomechanicsSlide44: Nikolai Bernshtein’s live Kimo-cyclograms of the swimming sportsmen. Different styles. Slide45: The concept of Alive MotionSlide46: Composer Aeseny AvraamovSlide50: Ultruchromatic music - 96 (48) steps per octaveSlide51: One key of the Bow-Polychord (1916) The instrument for Ultrachromatic Music (the kind of microtonal music) 48 steps/octaveSlide52: Symphony of Sirens 1921-1923 Bacu / MoscowSlide54: Symphony of Sirens, part of the scoreSlide55: The beginning of the Symphony of Sirens. Parts of Sirens (top), motor-guns and cannons, used as a kind of percussion group.Slide56: The basic setup of Moscow performance of Avrahamov’s Symphony of Factory Sirens (1921-1923) On the picture - alarm organ, including 50 steam alarms. Conductor (Avraamov) - on the roof. Slide57: Arseny Avrahamov conducting his Symphony of Sirens, Moscow 1923 Slide59: “Shorinophone” - device to produce sound films, late 1920’s, RussiaSlide60: Basic principles how to produce sound tracksSlide61: Evgeny Sholpo working with his VARIOPHONE - device to produce artificial sound tracks. Slide62: First painted soundtracks by Arseny Avrahamov 1930-1931Slide63: Polyphonic sound track by Evgeny Sholpo, created on his VARIOPHON instrument in 1931-1934Slide64: Nikolay Voinov working with his paper-sound technique (1931-1933)Slide65: Nikolay Voinov’s NIVOTONE instrumentSlide66: Loading of the variophone disk into the optical systemSlide67: Variophone cardboard disks with the basic wave shapesSlide68: Painted polyphonic soundtrackSlide69: Boris Yankovsky soundtracks, created on his VIBROEXPONATOR in 1931-1936Slide70: Basic principles of the Vibroexponator operationSlide71: Basic principles of the Vibroexponator operationSlide72: Explanation of the additive synthesis and resynthesis of the syntonesSlide73: Boris Yankovsky explanations of the additive and formant synthesis, 1932-1936, MoscowSlide74: Boris Yankovsky soundtracks of violin and speech soundsSlide75: Boris Yankovsky synthesis of speech sounds and sounds of brass wind instruments Slide76: Boris Yankovsky explanation syntones - spectral mutations from early 1930-sSlide77: Boris Yankovsky explanation of his syntones - spectral mutations from early 1930-sSlide78: Boris Yankovsky explanation of his syntones - spectral mutations from early 1930-sSlide79: AudioSculpt (IRCAM, 90-s) The software for spectral analysis and spectral transformations: Spectral mutations and cross-synthesys MetaSynth (90-s) The software for spectral analysis, Synthesis, resynthesis and various spectral transformationsSlide80: Inventor Evgeny Murzin and ANS Synthesizer (development started in 1936, finished in 1958, Moscow) Slide81: Big version of the ANS Synthesizer (1962) 720 sine oscilators 72 steps/octav Graphical scoreSlide82: Composers, working with ANS synthesizer in 1968 (left to right): Eduard Artemiev, Alfred Schnitke, Alexander Nemtin, Edison Denisov. Sitting: Oleg Buloshkin, Sofia Goubaidulina, Stanislav KreichiSlide83: The operation principle of electro-optical ANS SynthesizerSlide84: ANS Optical disc - oscillator (144 sine sound tracks) and example of the graphical score - sonogram Slide85: Composer Stanislav Kreich working with ANS, late 1990-s, MoscowSlide86: The document of the State Committee for Radio-electronics and Ministry of Culture, 1962. Special commission of experts, including Lev Theremin, Andrei Volodiv, Evgeny Murzin etc. make a decision to support further development of ANS synthesizer.Slide88: Contact information: Andrei Smirnov Theremin Center for Electroacoustic Music at Moscow State Conservatory Address: Bolshaya Nikitskaya 13 Moscow, 235871, Russia Phone: (495) 629-7678 E-mail: email@example.com Web: http://asmir.theremin.ru http://theremin.ru You do not have the permission to view this presentation. In order to view it, please contact the author of the presentation.