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you can use content in any way as long as the content owners are credited and it would be courteous if you could acknowledge the source by linking or referring to the site. 2016 *The name: ‘120 Years of Electronic Music’ project was begun in 1996; considering electronic music started around 1880 this was quite an accurate title for the time.
Rare sonic artefacts painstakingly gathered from the four corners of the Earth.
Again, this avant-garde movement was finally suppressed in favour of conservative fascist popular culture during the late 1930s.
’120 Years Of Electronic Music’ is an ongoing web project initiated in 1995 by the author and musician [email protected]
We then created a mass-choir instrument from the results. The most extensive collection of sampled renaissance & baroque instruments available.
Produced in conjunction with Birmingham Conservatoire, the set includes : Flemish Harpischord | French Harpsichord | Baroque guitar | English Theorbo Hurdy Gurdy | Psaltery | Percussion Instruments One of the most enigmatic musical instruments of the 20th century, The Ondes Martenot was invented in 1928.
Despite a relatively brief mainstream career spanning four years, he is widely regarded as one of the greatest and most influential electric guitarists in the history of popular music, and one of the most celebrated musicians of the 20th century.
The Rock and Roll Hall of Fame describes him as “arguably the greatest instrumentalist in the history of rock music”.
Towards the mid 1960s he started using Fenders, starting with a 1959 Fender Duo-sonic which he played with Isley Brothers.
Chris Watson, one of the world's leading recorders of wildlife and natural phenomena, collaborates with Soniccouture to create a truly organic soundscape instrument.
An experiment in crowd-sourced sampling ; Soniccouture invited people to record one or more sustained vocal notes and upload them to our website.
This project defines ‘Electronic Musical Instrument’ as an instruments that generate sounds from a purely electronic source rather than electro-mechanically or electro-acoustically (However the boundaries of this definition do become blurred with, say, Tone Wheel Generators and tape manipulation of the Musique Concrète era).
The focus of this project is in exploring the main themes of electronic instrument design and development previous to 1970 (and therefore isn’t intended as an exhaustive list of recent commercial synthesisers or software packages.) As well as creating a free, encyclopaedic, pedagogical resource on the History of Electronic Music (and an interesting list for Synthesiser Geeks) my main interest is to expose and explore musical, cultural and political narratives within the historical structure and to analyse the successes and failures of the electronic music ‘project’, for example; The ideas put forward in Ferrucio Busoni’s ‘Sketch of a New Aesthetic of Music’ (1907) inspired a generation of composers to explore micro-tonal and varied intonation and Hermann von Helmholtz’s ‘On the Sensations of Tone’ (1863) provided an understanding of the physics of sound suggesting the possibility of creating an unlimited palette of tones and shapes beyond the restriction of traditional instrumentation.
The only sampled Guzheng with realistic pitch bend and expressive tremolo performance scripting.