Like other early synthesizers, they were monophonic, playing just one note at a time.
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Ragas are largely monophonic, incorporating drones created by instruments like the tanpura, a long-necked plucked string instrument.
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Nokia, which used monophonic sounds previously, was looking to add more layers of depth to the tones coming out.
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Medieval people were not backward or stupid; monophonic music was a conscious choice made by those in positions of religious power.
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In other Orthodox churches, like the Russian and Greek, monophonic chant remained the dominant style until at least the 193th century.
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The 2200 is a monophonic analog synthesizer with a built-in keyboard, a programmable sequencer, speaker box, and battery pack for $2500.
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Lastly, the 170 is a monophonic analog synthesizer with built-in keyboard, a programmable sequencer, speaker box, and battery pack; it costs $349.
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This early choral music was largely "monophonic", a tune often sung by a single person, without accompanying harmony or chords, such as plainchant.
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On the plus side, its "dual voice" construction lets you play two notes at once, generating richer sounds than one-note monophonic analog synths.
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In the days of monophonic recording, elements of production—emphasizing one vocal more than another, for instance—were achieved through literal proximity to a microphone.
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The new Behringer Crave is an original semi-modular monophonic synth that's sort of like the company's beefed-up take on the Roland TB-303.
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Monophonic (single speaker) recordings were king back in 1967, and the then-new stereo (two speaker) format was effectively the purview of audiophiles and hi-fi fanatics.
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The 170 is an analog monophonic synthesizer with a programmable sequencer that comes with a 70-page illustrated manual, including several sample patch diagrams to get you started.
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For playground fame, you'd have to stump up $5 of your credit for a 10-second monophonic or polyphonic melody of some Eminem song or an hilarious fart sound.
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While the hardware Minimoog Model D is monophonic (produces only one note at a time), the app has the option to play chords with up to four notes at once.
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In 1984, musicologist Wilfrid Mellers described ambient musician Terry Riley's drone music as sustained, minimalistic, and monophonic tones that stretch over long periods of time, inducing a trance in the listener.
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"The development of multivoice chanting in Georgia in the Middle Ages was unique in the region; almost all of the surrounding countries were then singing in monophonic music styles," John explained.
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Also, if you purchase a TORAIZ AS-1 monophonic analog synth from an authorized Pioneer DJ dealer through December 323st, you can claim a free pair of HRM-5 studio headphones (priced at $99).
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The Scottish musician specifically helped out with creating unique scales, sounds, and sequences as part of the monophonic synth's micro-tuning function; you can hear his contributions starting at about 4:35 on the video below.
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Constant and fast recalculations provide FM synthesis capabilities through the entire app, while the 64-bit processing of newer iOS devices allowed Moog to design algorithms that work equally well in monophonic and 4-voice polyphonic mode.
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The prospect of receiving a signed copy of a remixed 8bit video title might seem unfathomably uncool to some, but for many, the backing track of their youth was the lo-fi beeps and monophonic melodies of Allister's early repertoire.
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There's a wide array of instruments available from Teenage Engineering, from its popular Pocket Operator line to the retro-future OP-1 synthesizer, and its flat pack line that includes the 400 and also a monophonic analog synth called the 170.
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In fact, the tiny loudspeaker is capable of a range of sounds and can be updated 120 times per second, but in true monophonic style can only produce a single tone at a time between 100 and 2,000 Hz, and that in a square wave.
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At his Carnegie Hall recital last year he "recalled a distant age of pianism, playing with a judgment far beyond his years and a tone so achingly antique it sounded as if it ought properly to be heard through the crackle and hiss of an old monophonic record," David Allen wrote in The New York Times.
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Here's what they produced: Following their series of Sun Ra 7″s, label Modern Harmonic now making the mythic recording available on vinyl once more, releasing the complete concert as a monophonic double LP set for the first time, featuring over twenty five minutes of previously unheard music, and accompanied by liner notes from writer Howard Mandel, who was in the audience that night.
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The synthesizer makes use of two polyphonic modes and two monophonic modes. Each of the two monophonic modes arranged the oscillators into a single note stack of slightly detuned oscillators. Use of these two monophonic modes changes the character of any given patch quite considerably, generally imbuing it with what could best be described as a powerful or "fat" sound.
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However, the couesnophone is a polyphonic instrument, while the saxophone is monophonic.
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The monophonic melodies are typical of singing traditions of the seaside regions of Lithuania.
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Until the advent of the NICAM and MTS systems, television sound transmissions were invariably monophonic.
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The Yamaha CS-15 is a Monophonic analog synthesizer produced by Yamaha from 1979 to 1982.
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Such techniques were also used in Duophonic sound to re-release monophonic recording with pseudo-stereophonic sound.
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The Future Retro 777 is a monophonic analog synthesizer with a digital sequencer and is out of production.
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The introduction of FM stereo transmission, or color television, allowed forward compatibility, since monophonic FM radio receivers and black-and-white TV sets still could receive a signal from a new transmitter. It also allowed backward compatibility since new receivers could receive monophonic or black-and-white signals generated by old transmitters.
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Her music is monophonic, that is, consisting of exactly one melodic line.Newman, Barbara. Voice of the Living Light (California: University of California Press, 1998), p. 150. Its style has been said to be characterized by soaring melodies that can push the boundaries of traditional Gregorian chant, and to stand outside the normal practices of monophonic monastic chant.
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However, the location of the original multi-track tapes is unknown. As a result, with only the full-track quarter-inch 15 IPS monophonic composite master being available from which Capitol mastered their records in 1962, no stereophonic version of the song is currently possible and it remains in monophonic sound on the CD re-issue.
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Although More of... was originally released in monophonic and stereo versions, the producers of the Rhino releases opted for the mono mix.
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Replicates the original monophonic synth but now has 32 voice polyphony. Complete with patch cables. Each knob can be controlled via MIDI.
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Although More of... was originally released in both monophonic and stereo versions, the producers of the reissue opted for the mono mix.
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According to Eddie Jobson, the CS80 solo on "Rendezvous 6:02" was played with all 16 of the instrument's oscillators in monophonic unison.
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Therefore, Byzantine music remained monophonic and without any form of instrumental accompaniment. As a result, and despite certain attempts by certain Greek chanters (such as Manouel Gazis, Ioannis Plousiadinos or the Cypriot Ieronimos o Tragoudistis), Byzantine music was deprived of elements of which in the West encouraged an unimpeded development of art. However, this method which kept music away from polyphony, along with centuries of continuous culture, enabled monophonic music to develop to the greatest heights of perfection. Byzantium presented the monophonic Byzantine chant; a melodic treasury of inestimable value for its rhythmical variety and expressive power.
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Many early analog synthesizers were monophonic, producing only one tone at a time. Popular monophonic synthesizers include the Moog Minimoog. A few, such as the Moog Sonic Six, ARP Odyssey and EML 101, could produce two different pitches at a time when two keys were pressed. Polyphony (multiple simultaneous tones, which enables chords) was only obtainable with electronic organ designs at first.
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The user then either buys a separate monophonic power amp for their subwoofer or obtains a powered subwoofer cabinet, which contains an integrated power amplifier.
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The 3-1 channel setup (consisting of one monophonic surround channel) is such a case, where both LS and RS are fed by the monophonic signal at an attenuated level of -3 dB. The function of the center channel is to anchor the signal so that any central panned images do not shift when a listener is moving or is sitting away from the sweet spot.
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Since the 1990s, various manufacturers have introduced string drivers for guitar and bass, including hand held monophonic, and polyphonic string drivers, as well as built-in and surface mounted types. All polyphonic models produced under the SRG brand. Commonly referred to as "Resonators", and monophonic "Sustainers" such as Fernandes Guitars (G-401), Sustainiac (Stealth Pro3), and "gooseneck" microphone stand mounted types (Vibesware Guitar Resonators).
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The Moog model 2090 Micromoog is a monophonic analog synthesizer produced by Moog Music from 1975–79. During 1973 & 74, Moog attempted to produce a synth system, possibly as a result of seeing Yamaha's massive GX-1. The bass and polyphonic components of the "Constellation" became the Taurus and Polymoog, and while the Lyra monophonic lead synth never went into production, the smaller MicroMoog emerged, using some of the ideas and technology. The monophonic Micromoog was designed by Moog Engineer Jim Scott in consultation with Tom Rhea, with electronic refinement input from David Luce, Robert Moog, as a scaled-down, cheaper alternative ($650-$800 market price) to the Minimoog.
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Troubadour songs were usually monophonic. Fewer than 300 melodies out of an estimated 2500 survive.The Grove Concise Dictionary of Music edited by Stanley Sadie. Macmillan Press Ltd.
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B-Step Sequencer has a long list of features, including full MIDI and MIDI beat clock sync support, Sequencer Ratcheting, shuffle (swing), monophonic and polyphonic note playback modes.
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It is often contrasted with monophonic, or "mono" sound, where audio is in the form of one channel, often centered in the sound field (analogous to a visual field).
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Melody may be described as a phrase or collection of musical notes played in succession. Rhythm, or harmony, occurs when one or more notes are played at the same time. A lead instrument is usually monophonic (only able to sound one note at a time), such as a horn or voice. A rhythm or backing instrument(s) may be monophonic, working together to create harmony, or polyphonic, generating harmony on its own.
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Overtones are naturally highlighted when singing in a particularly resonant space, such as a church; one theory of the development of polyphony in Europe holds that singers of Gregorian chant, originally monophonic, began to hear the overtones of their monophonic song and to imitate these pitches - with the fifth, octave, and major third being the loudest vocal overtones, it is one explanation of the development of the triad and the idea of consonance in music.
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It is a dual-band mobile phone, supporting both GSM 900 and GSM 1800 network frequencies. It supports up to 21 monophonic ringtones. It also supports SMS sending and receiving.
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It was a monophonic composition and had a chorus he added the song to the film by adding a small difference. It was sung in the film by Swetha Mohan.
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As a band in the late 70's and early 80's, they used synthesizers, monophonic sequencers, drum machines, and vocals and would dress up in spacesuits when they performed.
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In 2007, the compilation The Warmth of the Sun released the first stereo remix of "You're So Good to Me". Previously, the song was only available in monophonic and duophonic capacities.
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Feeling Good is an LP album by Julie London, released by Liberty Records under catalog number LRP-3416 as a monophonic recording and catalog number LST-7416 in stereo in 1965.
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Sophisticated Lady is an LP album by Julie London, released by Liberty Records under catalog number LRP-3203 as a monophonic recording and catalog number LST-7203 in stereo in 1962.
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Later they released the Oz, another small synthesizer, this time with an 18-key keyboard. In the 1990s PAiA released the FatMan Analog MIDI Synth, a MIDI capable, monophonic, analog synthesizer.
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The OB-1 is monophonic version of the Oberheim OB-X, with two VCOs and a Low Pass filter. It also contained an envelope control for both the filter and amplitude.
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On this album he used a Hagstrom guitar synthesizer, a simple controller for an ARP 2600. The Hagstrom was monophonic and had resistors soldered on at each fret to create a monophonic control voltage bus and trigger gate. This allowed the guitar sound to be doubled, (but not bent by string pulls) and also required the analog synth to hold its tuning over the entire range. The album closes with a tribute to John Lee Hooker.
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According to Grocheio, the fiddle was the supreme instrument of the period, and the stantipes, together with the cantus coronatus and ductia, were the principal forms played on fiddles before the wealthy in their celebration . The estampie is the first known genre of medieval era dance music which continues to exist today. The estampie can be monophonic (a single musical line) or polyphonic (producing many sounds). The melody is monophonic and is heard as the most prominent melody.
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The Arturia MiniBrute is a monophonic, pure analog synthesizer designed and manufactured by Arturia, a French synthesizer software and hardware company. Although the MiniBrute was the first piece of hardware created by Arturia—which had previously exclusively marketed software synthesizers—it generated strong sales. The MiniBrute takes some cues from vintage monophonic synthesizers, such as the Roland SH-101 and Minimoog. However, it also incorporates modern technology to increase its versatility and the depth of its sound.
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The YM2151 was paired with either a YM3012 stereo DAC or a YM3014 monophonic DAC so that the output of its FM tone generator could be supplied to speakers as analog audio.
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Esa has collaborated with Heikki Lindgren since 2018, forming a duo called HLER (Heikki Lindgren, Esa Ruoho), creating fully improvised Ambient Drone music using a rare Peruvian monophonic synth, the Atomosynth Mochika XL.
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For the Night People is an LP album by Julie London, released by Liberty Records under catalog number LRP-3478 as a monophonic recording and catalog number LST-7478 in stereo in 1966.
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"The influence of jazz on the solo trumpet compositions of Eugene Bozza", DMA Dissertation. University of North Texas, Diss. p. 20. Uvular fluttertonguingPost, Nora. "Monophonic sound resources for the oboe: Part I - Timbre".
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The Taurus was originally intended to be part of a larger Moog Music synthesizer ensemble called the Constellation. In addition to the monophonic Taurus, the Constellation would have included two keyboards: the monophonic Lyra and polyphonic Apollo. The intention was that the Apollo and Lyra be played with both hands, while bass notes could be played by foot on the Taurus. The sound shaping controls are protected by a removable plastic window in order to avoid accidental adjustments while playing.
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Latin in a Satin Mood is an LP album by Julie London, released by Liberty Records under catalog number LRP-3278 as a monophonic recording and catalog number LST-7278 in stereo in 1963.
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Harmonic Percussion retriggers only after all notes have been released, so legato passages sound the effect only on the very first note or chord, making Harmonic Percussion uniquely a "single-trigger", or monophonic effect.
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For a stereo broadcast, the maximum permitted carrier deviation is invariably ±75 kHz, although a little higher is permitted in the United States when SCA systems are used. For a monophonic broadcast, again the most common permitted maximum deviation is ±75 kHz. However, some countries specify a lower value for monophonic broadcasts, such as ±50 kHz. Armstrong's first prototype FM broadcast transmitter, located in the Empire State Building, New York City, which he used for secret tests of his system between 1934 and 1935.
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The Omni featured preset, electronically generated Orchestral ensemble String voices including polyphonic Violin and Viola sounds as well as monophonic Bass and Cello. The instrument also included a monophonic Bass Synthesizer section and a polyphonic Synthesizer section. The Synthesizer section featured a 24 dB/oct Voltage-Controlled Low Pass Filter (LPF); an ADSR envelope generator and a single waveform (triangle) Low Frequency Oscillator (LFO) were both routed to control the VCF Cutoff frequency. A Waveform Enhancement switch allowed selection of a square wave voice waveform vs.
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In synthesizers legato is a type of monophonic operation. In contrast to the typical monophonic mode where every new note articulates the sound by restarting the envelope generators, in legato mode the envelopes are not re-triggered if the new note is played "legato" (with the previous note still depressed). This causes the initial transient from the attack and decay phases to sound only once for an entire legato sequence of notes. Envelopes reaching the sustain stage remain there until the final note is released.
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By Myself is an LP album by Julie London, released by Liberty Records for Columbia House Record Club under catalog number MCR-1 as a monophonic recording and catalog number SCR-1 in stereo in 1965.
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One of the synthsizers FM often used was a monophonic Roland SH-101 keytar. Viz used a futuristic looking Epiphone Explorer that had been repainted and modified to contain a laser and a bank of LEDs.
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"Bushman President" is another instrumental, and the second volume in Partridge's Homo Safari series. It was recorded entirely with a Korg monophonic synthesizer. Later, it was used as an introduction tape for the group's live performances.
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The Gregorian chant was known for its very monophonic sound. Believing that complexity had a tendency to create cacophony, which ruined the music, Gregory I kept things very simple with the chant.Kamien, Roger. Music: An Appreciation.
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Julie...At Home is an LP album by Julie London, released by Liberty Records under catalog number LRP-3152 as a monophonic recording in 1960, and later in stereo under catalog number LST-7152 the same year.
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Polyphony is a property of musical instruments that means that they can play multiple independent melody lines simultaneously. Instruments featuring polyphony are said to be polyphonic. Instruments that are not capable of polyphony are monophonic or paraphonic.
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The B-side track "(Wasting My Time) Thinking of You" is another Cousins/Cronk composition also appearing on the album. The B-side of the 1975 United States release is a monophonic version of the A-side.
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In the Wind is an LP album by Jackie DeShannon, released by Imperial Records under catalog number LP-9296 as a monophonic recording in 1965, and later in stereo under catalog number LP-12296 the same year.
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166 It can be set for duophonic, (two notes at a time... one oscillator takes high-note priority and one oscillator takes low note priority), monophonic (both oscs), or monophonic with a drone (one osc changes pitch, one does not). Available waveshapes are pulse (variable), saw, and triangle. The pitch of each oscillator can be controlled by dual LFO, one by contour, and the other by the other oscillator. One can adjust the temperament of the Sonic Six to play scales that have less than 12 notes per octave.
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"Fever", "It's Impossible", and "In The Ghetto" are heard in true stereo; "Kentucky Rain" utilized the mono single version, with mild rechanneled or "fake stereo" effect. The other six tracks on the album are original 1950s monophonic recordings with "stereo effect reprocessed from monophonic", or "fake stereo". When RCA reissued the album on compact disc in 1992, the "fake stereo" tracks were restored to their original mono sound. The album was certified Gold on September 12, 1977, Platinum on March 20, 1988 and 2x Platinum on March 27, 1992 by the RIAA.
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The RSF Kobol is a French monophonic synthesizer released in 1978. Described by purists as the French Minimoog. It could process external sounds to through the envelope and filter section. It was created by Ruben and Serge Fernandez.
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This Is Jackie DeShannon is an LP album by Jackie DeShannon, released by Imperial Records under catalog number LP-9286 as a monophonic recording in 1965, and later in stereo under catalog number LP-12286 the same year.
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Ware was born and grew up in Sheffield, England. After leaving King Edward VII School, he worked in the computer industry. With his first wages, he bought a Korg 700 monophonic keyboard and started experimenting with electronic sound.
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Las Huelgas preserves a 14th-century music manuscript, the Codex Las Huelgas. It contains monophonic and polyphonic music which is assumed to have been performed by the nuns. Some of the music is not found in any other source.
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Oberheim continued to make synthesizers until the late 1980s. Other notable Oberheim synthesizers include the OB-1 (monophonic), the OB-8, the Xpander, the Matrix-6, the Matrix-12, and the Matrix-1000 marketed after the acquisition by Gibson.
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The EBow is monophonic, and drives one string at a time, producing a sound reminiscent of using a bow on the strings. The name EBow stands for "Electronic Bow" or Energy Bow (often spelled E-bow in common usage).
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Sherry & 11 Others is the debut album by The Four Seasons, released by Vee-Jay Records under catalog number LP-1053 as a monophonic recording in 1962 and later in stereo under catalog number SR-1053 the same year.
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In recent times, instruments might include (lute), (end-blown reed flute), (classical kemenche), (Western violin), (zither), or other instruments. Sometimes described as monophonic music, the variety of ornamentation and variation in the ensemble requires the more accurate term heterophonic.
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Both were portable, analog, monophonic, and relatively compact. The 1002 used voltage-controlled oscillators; however, the 1020 was revolutionary in its implementation of digitally controlled oscillators, which were much more stable and had a distinctive sound that later became PPG's trademark.
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Monophonic by preset except on the latest ELS-02 series. ; Registration : Electone term referring to sounds selected for each keyboard and the pedal board. Includes also rhythm pattern selected. Also refers to user memory slots available on the Electone itself.
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The singer would sing improvised or monophonic melodies with the rhythm, accent, and movement according to the text. This ancient heritage would greatly influence development of music in Western Europe through the Christian Church.Palisca, A History of Western Music, 16.
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The Doris Day Christmas Album is an album of Christmas songs performed by Doris Day, released by Columbia Records on September 14, 1964, as a monophonic LP album (catalog number CL-2226) and a stereophonic LP album (catalog CS-9026).
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The center channel also prevents any timbral modifications from occurring, which is typical for 2-channel stereo, due to phase differences at the two ears of a listener. The centre channel is especially used in films and television, with dialogue primarily feeding the center channel. The function of the center channel can either be of a monophonic nature (as with dialogue) or it can be used in combination with the left and right channels for true three-channel stereo. Motion Pictures tend to use the center channel for monophonic purposes with stereo being reserved purely for the left and right channels.
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The first number-one album on the new weekly list was Belafonte by Harry Belafonte. The chart was renamed to Best-Selling Pop Albums later in 1956, and then to Best-Selling Pop LPs in 1957. Beginning on May 25, 1959, Billboard split the ranking into two charts Best-Selling Stereophonic LPs for stereo albums (30 positions) and Best-Selling Monophonic LPs for mono albums (50 positions). These were renamed to Stereo Action Charts (30 positions) and Mono Action Charts (40 positions) in 1960. In January 1961, they became Action Albums—Stereophonic (15 positions) and Action Albums—Monophonic (25 positions).
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According to the Cultural Model, the origins of polyphony are connected to the development of human musical culture; polyphony came as the natural development of the primordial monophonic singing; therefore polyphonic traditions are bound to gradually replace monophonic traditions.Bruno Nettl. Polyphony in North American Indian music. Musical Quarterly, 1961, 47:354–62 According to the Evolutionary Model, the origins of polyphonic singing are much deeper, and are connected to the earlier stages of human evolution; polyphony was an important part of a defence system of the hominids, and traditions of polyphony are gradually disappearing all over the world.
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Juka and the Monophonic Menace is an action-adventure video game published and developed by Orbital Media, Inc. in PAL regions, and published by SouthPeak Interactive in NA. It was slated for release on the Nintendo DS, but it was ultimately canceled.
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On AM, IBOC is incompatible with analog stereo, and any additional channels are limited to highly compressed voice, such as traffic and weather. Eventually, stations can go from hybrid mode (both analog and digital) to all-digital, by eliminating the baseband monophonic audio.
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In Person at the Americana is an LP album by Julie London, released by Liberty Records under catalog number LRP-3375 as a monophonic recording and catalog number LST-7375 in stereo in 1964. It was arranged and conducted by Don Bagley.
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Nice Girls Don't Stay for Breakfast is an LP album by Julie London, released by Liberty Records under catalog number LRP-3493 as a monophonic recording and catalog number LST-7493 in stereo in 1967. The song arrangements were by Don Bagley.
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Send for Me is an LP album by Julie London, released by Liberty Records under catalog number LRP-3171 as a monophonic recording in 1961, and later in stereo under catalog number LST-7171 in 1961. Jimmy Rowles was the orchestra conductor.
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The ARP 2500 is a monophonic analog modular synthesizer equipped with a set of sliding matrix switches above each module. These are the primary method of interconnecting modules. It is the first product of ARP Instruments, Inc., built from 1970 to 1981.
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Wakeman described the experience as "absolute magic". Wakeman changed his sound on the album with the use of a Polymoog, a polyphonic analogue synthesiser, which supplemented his traditional use of the Mellotron, Hammond organ, the RMI Electra Piano, and the monophonic Minimoog synthesizer.
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Czech, Norwegian and German DVDs are available. A region-free DVD with monophonic Czech audio track was released in the United Kingdom by Second Run in December 2016. A Blu-ray edition with stereo Czech audio was also released in December 2016.
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Ambisonic content can be created in two basic ways: by recording a sound with a suitable first- or higher-order microphone, or by taking separate monophonic sources and panning them to the desired positions. Content can also be manipulated while it is in B-format.
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In 1983, Felix Visser, product specialist Marc Paping, and designer Bert Vermeulen created the Synton Syrinx, a monophonic analog synthesizer that contained unique features such as a metal touchplate for manipulating sound as well as a formant filter. In 1989, the company went bankrupt.
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The ESQ-1's keybed doesn't feature aftertouch, but the synthesis engine is capable of processing polyphonic aftertouch over MIDI, such as the polyphonic aftertouch implementation of the SQ-80's keyboard. Furthermore, Ensoniq ESQ-1 features amplitude modulation, oscillator sync, monophonic mode, and portamento.
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The devil's part is entirely spoken or shouted, with no musical setting. All other characters sing in monophonic plainchant. This includes Patriarchs, Prophets, A Happy Soul, A Unhappy Soul and A Penitent Soul along with 16 female Virtues (including Mercy, Innocence, Chasity, Obedience, Hope, and Faith).
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The Oberheim Prommer is a monophonic sampler capable of programming EEPROM chips for use in Oberheim DMX, Linn, Simmons, and Sequential Circuits drum machines, allowing you use you own samples in these devices. The device can be triggered by MIDI, or via Oberheim's pre-MIDI parallel bus.
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The ARP Pro/DGX is a preset-based monophonic synthesizer manufactured by ARP Instruments, Inc. from 1977 until the company's demise in 1981. Like its predecessor, the Pro Soloist, it features 30 presets and aftertouch. In fact, it looks almost identical to the Explorer and Pro Soloist.
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The Minimoog Voyager or Voyager is a monophonic analog synthesizer, designed by Robert Moog and released in 2002 by Moog Music. The Voyager was modeled after the classic Minimoog synthesizer that was popular in the 1970s, and is meant to be a successor to that instrument.
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Professional music in Georgia existed at least from the 7-8th centuries, when Georgian composers started translating Greek orthodox Christian chants,Ivane Javakhishvili. 1938. The Basic Questions of Georgian Music History. Tiflis: Federacia adding harmonies to the monophonic melodies,Zurab Chavchavadze. 1986. Georgian hymnography of the 12th century. PhD.
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The Synthacon is a monophonic analog synthesizer. It uses three voltage-controlled oscillators (VCOs) as sound sources. One oscillator could generate sine or sawtooth waves, and the other two could each generate either sawtooth, pulse, or triangle waves. The synthesizer was also capable of generating white and pink noise.
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"Ce fut en mai" is a chanson—a lyric-driven French song in the trouvere tradition. Its texture is Monophonic, as it consists of a single melody. The use of instruments was improvised. The accompaniment was played on medieval instruments such as the psaltery, the dulcimer and the vielle.
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He also wanted them to be inexpensive, intuitive, small, and simple. He constructed his first 49-key monophonic organ in 1959, specifically designed to be playable by anyone, with no musical skill necessary. The focus on miniaturization, affordability and simplicity later became fundamental to product development at Roland.
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These are the number-one albums in the United States per Billboard magazine's Best-Selling Pop LPs chart during the year 1959. Starting May 25, 1959, separate charts were listed for albums in mono and stereo formats, called Best-Selling Monophonic LPs and Best-Selling Stereophonic LPs, respectively.
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The Oberheim TVS-1A is a polyphonic analogue synthesizer manufactured in the United States and released to the market in 1975.. Its two voice digital keyboard can be operated in either polyphonic or monophonic mode. The TVS-1A also featured sample and hold and an onboard 16-step sequencer.
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Kângë majekrahi (or Standard Albanian: këngë majekrahi; English: "majekrahi songs", "songs over the arm") alternatively kângë malësorçe (or këngë malësorçe; "mountain songs" or "highland songs") is a type of "call to action" monophonic male singing or chanting originating from the Northern Albanian mountains among the Albanian Gheg population.
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This was then combined with the telephone quality audio and produced a much more natural sounding broadcast ranging from 50 Hz to as high as the telephone line would permit with the exception of the sharp notch at 3 kHz to filter out the carrier. Leonard's system of AM stereo was tested and used in Mexico long before the F.C.C. permitted stereo in the United States. His system was simplicity in that it used the dual sidebands that are produced by all AM stations to transmit the left channel information on the lower sideband and the right channel on the upper sideband. Monophonic radios when tuned to the center of the carrier heard both, thus a monophonic signal.
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Medieval music was composed and, for some vocal and instrumental music, improvised for many different music genres (styles of music). Medieval music created for sacred (church use) and secular (non-religious use) was typically written by composers, except for some sacred vocal and secular instrumental music which was improvised (made up on-the-spot). During the earlier medieval period, the liturgical genre, predominantly Gregorian chant done by monks, was monophonic ("monophonic" means a single melodic line, without a harmony part or instrumental accompaniment). Polyphonic genres, in which multiple independent melodic lines are performed simultaneously, began to develop during the high medieval era, becoming prevalent by the later 13th and early 14th century.
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Monophonic music is a passage with only one instrument playing one note at a time, while polyphonic music can have multiple instruments and vocals playing at once. Pitch detection upon a monophonic recording was a relatively simple task, and its technology enabled the invention of guitar tuners in the 1970s. However, pitch detection upon polyphonic music becomes a much more difficult task because the image of its spectrogram now appears as a vague cloud due to a multitude of overlapping comb patterns, caused by each note's multiple harmonics. Another method of pitch detection was invented by Martin Piszczalski in conjunction with Bernard Galler in the 1970s and has since been widely followed.
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At the beginning of 2018 he returned to using a larger amp, a Fender Twin Reverb. In keyboards, Kerimofski has remained loyal to Casio's MT series, notably the MT65, MT40 and MT45. Adem also owns a collection of Synthesizers including various Roland models, a Korg MS20, and numerous monophonic Moog synths.
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Easy Does It is a 1968 album by singer Julie London. By 1967, Julie London was on her way to exiting her long-term contract with Liberty Records. The album was released by Liberty Records under catalog number LRP-3546 as a monophonic recording and LST-7546 as a stereophonic.
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The Roland TR-606 Drumatix is a programmable analog synthesis drum machine built by the Roland Corporation from 1981 to 1984. It was originally designed to be used with the Roland TB-303, a monophonic analog bass synthesizer, to provide a simple drum and bass accompaniment to guitarists without backing bands.
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Accumulation of the component rhythms results in single-line "rhythm profiles" that precisely map the "rhythmic weight" in the musical progression. Petersen's method of rhythmic fine analysis reveals among others that even monophonic tone sets can already have a complex rhythm. Moreover, the relationship between rhythm and metre is newly illuminated.
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In 1907, Lord Rayleigh utilized tuning forks to generate monophonic excitation and studied the lateral sound localization theory on a human head model without auricle. He first presented the interaural clue difference based sound localization theory, which is known as Duplex Theory.Rayleigh L. XII. On our perception of sound direction[J].
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Nambas, the call-and-response pattern, repetition of nonsensical phrases, monophonic melodies, repeated phrases following each verse being sung on a descending scale, and singers responding to their own verses are characteristic of singing by females.The Last of the Maasai. Mohamed Amin, Duncan Willetts, John Eames. 1987. Pages 43, 100.
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Four channels of information (Left, Center, Right and Surround) were matrix-encoded into two optical soundtracks on 35 mm theatrical release prints, occupying the same area of the film which previously held the monophonic soundtrack. The matrix- encoded track was decoded by the cinema processor in the theater during exhibition.
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Those that can be recognized now are from the conductus repertory, and are mainly note against note in texture. The notation was in semi-quadratic neumes with pairs of four-line staves. Two songs survive with music intact: Primus parens hominum, a monophonic song, and a two-part work, Sol oritur occasus.
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Neumes were used for notating other kinds of melody than plainchant, including troubadour and trouvère melodies, monophonic versus and conductus, and the individual lines of polyphonic songs. In some traditions, such as the Notre Dame school of polyphony, certain patterns of neumes were used to represent particular rhythmic patterns called rhythmic modes.
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A number of other synthesizers made by Sequential Circuits used similar electronics, including the Multi-Trak, Max, and Split-8. the important parts on board of them was CEM3394 (a complete monophonic analog synth chip manufactured by Curtis Electromusic Specialties ). The Six-Trak used 6 chips for 6 voices of different timbre program.
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The Satellite is a lesser known monophonic analog synthesizer that was manufactured by Moog Music from 1973 to 1979 in response to the ARP Pro Soloist. It had one VCO. It was designed for use with any organ or sound system. The American company Thomas Organ bought the license to build it.
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Originally, the lauda was a monophonic (single-voice) form, but a polyphonic type developed in the early fifteenth century. The early lauda was probably influenced by the music of the troubadours, since it shows similarities in rhythm, melodic style, and especially notation. Many troubadours had fled their original homelands, such as Provence, during the Albigensian Crusade in the early 13th century, and settled in northern Italy where their music was influential in the development of the Italian secular style. A monophonic form of the lauda spread widely throughout Europe during the 13th and 14th centuries as the music of the flagellants; this form was known as the Geisslerlied, and picked up the vernacular language in each country it affected, including Germany, Poland, England and Scandinavia.
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Descriptions of stereophonic sound tend to stress the ability to localize the position of each instrument in space, but this would only be true in a carefully engineered and installed system, where speaker placement and room acoustics are taken into account. In reality, many playback systems, such as all-in-one boombox units and the like, are incapable of recreating a realistic stereo image. Originally, in the late 1950s and 1960s, stereophonic sound was marketed as seeming "richer" or "fuller-sounding" than monophonic sound, but these sorts of claims were and are highly subjective, and again, dependent on the equipment used to reproduce the sound. In fact, poorly recorded or reproduced stereophonic sound can sound far worse than well done monophonic sound.
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The songs from the Symphonia are set to Hildegard's own text and range from antiphons, hymns, and sequences, to responsories.Maddocks, Fiona. Hildegard of Bingen: The Woman of Her Age (New York: Doubleday, 2001), p. 194. Her music is described as monophonic, using soaring melodies that pushed the boundaries of the more traditional Gregorian chant.
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It is always the second song sung at an Amish church service and is often sung at Amish weddings. Older Amish hymns are monophonic, without meter, and feature drawn-out tones with slowly articulated ornamentation. Usually, there is no harmony in the music. Pennsylvania spirituals are more contemporary and include a wide variety of influences.
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Kurt von Fischer and Gianluca D'Agostino, "Caccia," Grove Music Online (Accessed July 19, 2009), (subscription access). While some of their music was still monophonic in the manner of the preceding century, much was for two voices, and Jacopo da Bologna wrote a few madrigals for three voices. Jacopo wrote one motet which has survived.
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With a Smile and a Song was an album, featuring Doris Day and Jimmy Joyce and the Children's Chorus, recorded from July 7 to 14, 1964 and released by Columbia Records on October 19, 1964. It was issued as a monophonic album (catalog number CL-2266) and a stereophonic album (catalog number CS-9066).
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My Son, the Folk Singer is an album by Allan Sherman [monophonic W-1475/stereophonic WS-1475], released by Warner Bros. Records in 1962. On the album sleeve, the title appears directly below the words "Allan Sherman's mother presents." The album, recorded before a live audience, is filled with Jewish culture references and in-jokes.
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Mono is the eighth studio album by American country music band The Mavericks. It was released on February 17, 2015 via Valory Music Group. The album sold 8,000 copies in its first week of release, debuting at number 5 on the Billboard Top Country Albums chart. The album was recorded and mixed in monophonic sound.
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Common types included monophonic texture (a single melodic voice, such as a piece for solo soprano or solo flute), biphonic texture (two melodic voices, such as a duo for bassoon and flute in which the bassoon plays a drone note and the flute plays the melody), polyphonic texture and homophonic texture (chords accompanying a melody).
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However, the manuscripts and fragments that survive date well into the thirteenth century, meaning that they are preserved in a form notated by musicians working several generations following Léonin and Pérotin. This collection of music constitutes the earliest known record of polyphony to have the stability and circulation achieved earlier by monophonic Gregorian chant.
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The pitch detection circuit makes use of another proprietary Roland part: the "fundamental generator" chip. Like the polyensemble, the bass output passes through an ADS Envelope Generator. Bass can be output on all six strings, just 4, 5 and 6, or only on 5 and 6. Solo Melody: this section is very close to a traditional analog monophonic synthesizer.
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There was also a limited edition of the recording for subscribers who paid in advance including a second CD with a rough mix of the tracks and also a monophonic version that was released for the band's concert at German Wave Gotik Treffen 2009 with all of the tracks titled differently, though the music remains the same.
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Neil Diamond's song chart entries Retrieved September 28, 2011 The song was mixed in monophonic, which is the common version heard on all Neil Diamond compilations featuring original Bang singles. The only known stereo mix was done in 1978 for a Frog King/Columbia House album called Early Classics, which has never been released on CD.
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Around Midnight is an LP album by Julie London, released by Liberty Records under catalog number LRP-3164 as a monophonic recording in 1960, and later in stereo under catalog number LST-7164 the same year. It was released a number of times on CD from 1998. Dick Reynolds did the arrangements and conducted the Orchestra.
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The Wonderful World of Julie London is an LP album by Julie London, released by Liberty Records under catalog number LRP-3324 as a monophonic recording and catalog number LST-7324 in stereo in November 1963. This was Julie London's final charting album, reaching #136 on the Billboard charts. Ernie Freeman arranged and conducted the orchestra.
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The New Jersey-based band The Weeklings recorded a version of the song for their 2015 album, Monophonic. It has also been covered by Seattle- based Beatles cover band Apple Jam on their album Off The Beatle Track. A Beatles demo version was released in 2013 on the iTunes exclusive album The Beatles Bootleg Recordings 1963.
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It has been used by pop and hip hop musicians such as Michael Jackson, Madonna, and Dr Dre, and by film composers such as John Carpenter. It was followed by the larger Prophet-10, which was less successful as it was notorious for unreliability. The smaller Pro-One, essentially a monophonic Prophet-5, saw more success.
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The Korg Monologue is a monophonic analog synthesizer from Korg."Specifications" Korg. Accessed 12 July 2017 It was released in January 2017 and has two VCOs, 25 keys, and a sequencer. The Monologue was designed by Korg's then Chief Engineer of Analog Synthesizers, Tatsuya Takahashi, his last design before switching to another position within the company.
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He subsequently upgraded to an ARP 2500. The synthesizer did not play any sounds directly as it was monophonic; instead it modified the block chords on the organ as an input signal. The demo, recorded at a slower tempo than the version by the Who, was completed by Townshend overdubbing drums, bass, electric guitar, vocals and handclaps.
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It provides the most coherent results for single-pitched sounds like voice or musically monophonic instrument recordings. High-end commercial audio processing packages either combine the two techniques (for example by separating the signal into sinusoid and transient waveforms), or use other techniques based on the wavelet transform, or artificial neural network processing, producing the highest- quality time stretching.
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However, some things are known about the Visigothic/ Mozarabic repertory. Like all plainchant, Visigothic/ Mozarabic chant was monophonic and a cappella. In accordance with Roman Catholic tradition, it is primarily intended to be sung by males. As in Gregorian chant, Visigothic/Mozarabic chant melodies can be broadly grouped into four categories: recitation, syllabic, neumatic, and melismatic.
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Currently, digital lines, such as ISDN or DSL, are used to send compressed digital audio back to the studio. In addition, modern remote pickup units have become extremely portable and can transmit single-channel monophonic FM-quality audio over regular telephone lines using built-in modems and advanced compression algorithms (MPEG-4, etc.). See POTS codec.
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The Aelita synthesizer (this one from 1988) The Aelita synthesizer with its control panel down. Aelita (synth.) sound example Aelita (synth.) sound examples Aelita (synth.) sound examples Aelita (synth.) sound examples Aelita (synth.) sound examples Sometimes referred to as the Murom Aelita, the Aelita is a monophonic analog synthesizer manufactured in the Soviet Union in the 1980s.
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The Oberheim OB-1 was a monophonic, programmable, analog synthesizer introduced by Oberheim Electronics in 1978. It originally sold for $1,895 and was the first analog synthesizer capable of storing patches. The design was a replacement for the previous generation of Oberheim SEM (Synthesizer Expansion Module) based instruments and intended to be used for live performance.Moog, Bob (2009).
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Module composition or "tracking" is done through the control of multichannel sample playback. An instrument is created by arranging one or more audio samples across a keyboard range. The instrument is then sequenced on a monophonic track that contains note, volume and effect data. A pattern is a series of tracks that are played back simultaneously.
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Armenian chant (, sharakan) is the melismatic monophonic chant used in the liturgy of the Armenian Apostolic Church. Armenian chant, like Byzantine chant, consists mainly of hymns. The chants are grouped in a system of eight modes called oktoechos. The oldest hymns were in prose, but later versified hymns, such as those by Nerses Shnorhali, became more prominent.
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The unison, as a component of harmony, is important, especially in orchestration. In pop music, unison singing is usually called doubling, a technique The Beatles used in many of their earlier recordings. As a type of harmony, singing in unison or playing the same notes, often using different musical instruments, at the same time is commonly called monophonic harmonization.
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Effectively, all horizontal stylus motion conveys the L+R sum signal, and vertical stylus motion carries the L−R difference signal. The advantages of the 45/45 system are that it has greater compatibility with monophonic recording and playback systems. Even though a monophonic cartridge will technically reproduce an equal blend of the left and right channels, instead of reproducing only one channel, this was not recommended in the early days of stereo due to the larger stylus (1.0 mil vs 0.7 mil for stereo) coupled with the lack of vertical compliance of the mono cartridges available in the first ten years of stereo. These factors would result in the stylus 'digging into' the stereo vinyl and carving up the stereo portion of the groove, destroying it for subsequent playback on stereo cartridges.
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However, he then created a chord progression for the monophonic composition, and Silver and Jean-Michel created a rework of the piece based on Jean-Michel's chord structure. The rework premiered via RBMA Radio on February 21, 2017,Przybyslawski, Corinne (February 21, 2017). "Listen to CFCF and Jean-Michel Blais' Lush Rework of John Cage's "In a Landscape"". Thump. Vice Media.
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Early Cantopop was developed from Cantonese opera music hybridised with Western pop. The musicians soon gave up traditional Chinese musical instruments like zheng and Erhu fiddle in favour of western style arrangements. Cantopop songs are usually sung by one singer, sometimes with a band, accompanied by piano, synthesizer, drum set and guitars. They are composed under verse-chorus form and are generally monophonic.
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Our Fair Lady is an LP album by Julie London, released by Liberty Records under catalog number LRP-3392 as a monophonic recording and catalog number LST-7392 in stereo in 1965. Most of the material had been previously released. Tracks 3-5 & 8 were the only new songs, recorded October 9-10, 1964, in sessions arranged by Richard Wess.Owen 2017, p. 244.
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Lonely Girl is an LP album by Julie London, released by Liberty Records under catalog number LRP-3012 as a monophonic recording in 1956, and later in rechanneled stereo under catalog number LST-7029 in 1959. The album (minus "What'll I Do") was reissued, combined with London's 1957 album Make Love to Me, on compact disc on January 28, 2003 by EMI.
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The SH-3A is a monophonic analog synthesizer that was manufactured by Roland from 1975 to 1981. It is unique in that it is capable of both subtractive synthesis and additive synthesis. Two LFOs and a unique sample-and-hold section provided capabilities not found in competing self-contained synthesizers of the time. The SH-3A was Roland's first non-preset based synth.
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The Taurus is monophonic, with its single voice generated by two oscillators running through one three-stage voltage-controlled amplifier. For the Taurus I and Taurus III, only one waveform was available: a distorted sawtooth wave. The Taurus II introduced a second waveform, the pulse wave. All models of the Taurus use a 24db/octave resonant low pass filter with key tracking.
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Therefore, even though the violin family of instruments are misleadingly considered (when bowing) by general untrained musicians to be primarily monophonic, it can be polyphony by both pizzicato (plucking) and bowing techniques for standard trained soloists and orchestra players. The evidence can be seen in compositions since the 17th century such as Bach sonatas and partitas for unaccompaniment solo violin.
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The earliest chansons were the epic poems performed to simple monophonic melodies by a professional class of jongleurs or ménestrels. These usually recounted the famous deeds (geste) of past heroes, legendary and semi-historical. The Song of Roland is the most famous of these, but in general the chansons de geste are studied as literature since very little of their music survives.
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The chanson courtoise or grand chant was an early form of monophonic chanson, the chief lyric poetic genre of the trouvères. It was an adaptation to Old French of the Occitan canso. It was practised in the 12th and 13th centuries. Thematically, as its name implies, it was a song of courtly love, written usually by a man to his noble lover.
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The lower range also features a simple monophonic synthesiser that is controlled from using faders labelled Bass and Perc. On the first version, there is a button labelled Orchestra that has hard wired settings and disables the faders for the string sounds. The second version, the String Melody II introduced in 1977, added more buttons for further hard wired settings.
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417 Listen to it interpreted. During the medieval music era (476 to 1400) the plainchant tunes used for religious songs were primarily monophonic (a single line, unaccompanied melody). In the early centuries of the medieval era, these chants were taught and spread by oral tradition ("by ear"). The earliest Medieval music did not have any kind of notational system for writing down melodies.
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The miniKORG is a two VCO monophonic analog synthesizer that was released in 1972 from Korg. It featured 37 keys, three ring modulators and built in analogue effects. It has wooden side panels and all the controls for the unit are not on the front panel but on the side facing the player. It was considered to be stable, affordable sounded great.
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Cha Cha! Billy May is a studio album released by Billy May in 1960 on Capitol LP record T1329 (monophonic) and ST1329 (stereophonic). The album features instrumental Latin renderings of big band standards and theme songs of many top musical outfits. Many of the arrangements are done tonge-in-cheek, even Capitol's own publicity described "Twelfth Street Rag-Cha-Cha" as "unforgivable".
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Listen to it interpreted. The earliest Medieval music did not have any kind of notational system. The tunes were primarily monophonic (a single melody without accompaniment) and transmitted by oral tradition. As Rome tried to centralize the various liturgies and establish the Roman rite as the primary church tradition the need to transmit these chant melodies across vast distances effectively was equally glaring.
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Over time mobile phones have seen an increased emphasis placed on user personalization. Far from the black and white screens and monophonic ringtones of the past, phones now offer interactive wallpapers and MP3 truetones. In the UK and Asia, WeeMees have become popular. WeeMees are three-dimensional characters that are used as wallpaper and respond to the tendencies of the user.
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Only one MCS70 was ever built. Before going into production, polyphonic synthesizers like the Sequential Circuits Prophet 5 arrived at the market and, all of a sudden, monophonic synths were considered obsolete. Mario Maggi then dropped the MCS70 project and started what would be his most famous synthesizer project ever: the polyphonic Elka Synthex. In many regards, though, the MCS70 was superior.
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This point-against-point conception is opposed to "successive composition", where voices were written in an order with each new voice fitting into the whole so far constructed, which was previously assumed. The term polyphony is also sometimes used more broadly, to describe any musical texture that is not monophonic. Such a perspective considers homophony as a sub-type of polyphony.
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"Lullabye (Goodnight, My Angel)" is the seventh track and fourth single from Billy Joel's 1993 album River of Dreams. It was inspired by Alexa Ray Joel, his daughter by Christie Brinkley. The song is in the key of G major. The song was originally written as a prelude to the song "The River of Dreams" in the style of a monophonic Gregorian chant.
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The Moog Prodigy was a monophonic analogue synthesizer produced by Moog Music from 1979 to 1984. Of the 11,000 produced, versions released after 1981 included a control voltage/gate input on the back that allowed the VCF to be triggered and controlled by an external source. These later versions began at serial number 4610. The official model number of the instrument is 336.
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Telefunken Volkstrautonium, 1933 (Telefunken Trautonium Ela T 42 (1933–35)) a production version of the Trautonium co-developed by Telefunken, Friedrich Trautwein and Oskar Sala from 1931 onwards. The Trautonium is a monophonic electronic musical instrument invented about 1929 by Friedrich Trautwein in Berlin at the Musikhochschule's music and radio lab, the Rundfunkversuchstelle.Christopher Hailey, Franz Schreker, 1878-1934: a cultural biography. CUP Archive, 1993, pp.232–34.
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In the 1140s he was a propagandist for the Reconquista and in his famous poem with the Latin beginning Pax in nomine Domini! he called Spain a lavador (washer) where knights could go to have their souls cleansed fighting the infidel. Four monophonic melodies to accompany Marcabru's poetry survive; additionally, three melodies of poems that may be contrafacta of Marcabru's work may be attributed to him.
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Nowadays many of the folksongs can only be reconstructed because of the survival of the "Souterliedekens". Composers like Jacobus Clemens non Papa, Gerardus Mes, and Cornelis Boscoop made polyphonic settings based on the melody of the monophonic "Souterliedekens". The melody often functions as a cantus firmus. The Antwerp printer Tielman Susato dedicated four volumes of his music-books ("Musyck Boexkens") to Clemens' "Souterliedekens" (vol.
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Whatever Julie Wants is an LP album by Julie London, released by Liberty Records under catalog number LRP-3192 as a monophonic recording and catalog number LST-7192 in stereo in 1961. For the cover photograph of this release Julie London had herself photographed in furs, jewels, and $750,000 in U.S. bills. A team of armed police officers were also present on the set.
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Love Letters is an LP album by Julie London, released by Liberty Records under catalog number LRP-3231 as a monophonic recording and catalog number LST-7231 in stereo in 1962. Barney Kessel played guitar on "I Loves You, Porgy," in an arrangement Julie borrowed from Nina Simone's 1959 version of the song. Ernie Freeman arranged three of the songs on the album.Owen 2017, p. 127.
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In the early Middle Ages, ecclesiastical music was dominated by monophonic plainchant. The separate development of British Christianity from the direct influence of Rome until the eighth century, with its flourishing monastic culture, led to the development of a distinct form of liturgical Celtic chant.D. O. Croinin, ed., A New History of Ireland, Vol. I: Prehistoric and Early Ireland (Oxford: Oxford University Press, 2005), , p. 798.
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By 1968, the practice of releasing LPs in monophonic sound was being discontinued. As a result, RCA Victor issued very few mono copies of Elvis' Gold Records Vol. 4 and they are considered valuable collector's items.Jerry Osborne's Presleyana: The Elvis Presley Record, CD, and Memorabilia Price Guide Original recordings were produced by Steve Sholes, Joseph Lilley, Chet Atkins, Urban Thielmann, George Stoll, and Felton Jarvis.
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Make Love to Me is an LP album by Julie London, released by Liberty Records under catalog number LRP-3060 as a monophonic recording in 1957, and later in stereo under catalog number LST-7060 in 1959. The accompaniment was by Russ Garcia and His Orchestra. The album was reissued, combined with London's 1956 album Lonely Girl, on compact disc on January 28, 2003 by EMI.
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Donald Jay Grout and Claude Palisca, A History of Western Music (New York: W.W. Norton & Company Inc, 1996), 1. From these surviving specimens, we can see that primitive music developed in two major ways. The first was that singing was primarily monophonic – that is, melody without harmony or counterpoint. The soloist would sing based on the repetition of two neighboring tones with no accompaniment.
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This modal, monophonic Latin music has been sung in the Catholic Church since at least the sixth century to the present day. An extensive introduction explains how to read and interpret the medieval musical notation (square notation of neums or neumes). A complete index makes it easy to find specific pieces. The Liber was first edited in 1896 by Solesmes Abbot Dom André Mocquereau (1849–1930).
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The lower octaves are divided by nine 7-stage SAJ210 dividers. The square wave passes the variable-gain amplifier built as a CV/Gate and a pulse conversion. Then the sound travels to the mixer, the chorus, a filter and the output stage. The monophonic bass sound available on the lower half of the keyboard has no variable-gain amplifier but has a low- pass filter.
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A typical example is the price list of the Sonotape/Westminster reels: $6.95, $11.95 and $17.95 for the 7000, 9000 and 8000 series respectively. Some HMV tapes released in the USA also cost up to $15. Record companies mixed most popular music singles into monophonic sound until the mid-1960s—then commonly released major recordings in both mono and stereo until the early 1970s.
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It was monophonic." He went on to say, "We thought we were in it for the fun ... it was just something we wanted to do, so if we got it wrong—big deal. We didn't have to justify ourselves." Former Wings guitarist McCullough said of collaborating with Linda, "trying to get things together with a learner in the group didn't work as far as I was concerned.
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The Moog Liberation was released in 1980 by Moog Music, and was considered the first mass-produced strap synthesizer. It included two monophonic VCOs and a polyphonic section that could play organ sounds. The neck had spring-loaded wheels for filter cutoff, modulation, and volume as well as a ribbon-controlled pitch bend. The Liberation had a single VCF and two ADS envelope generators.
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The Hohner Multimonica (introduced in 1940 ) featured a combination of a fan- blown reed organ and a monophonic sawtooth wave analog synthesizer. Produced by the German Hohner GmbH in the 1940s and 1950s, it preceded even the more famous Selmer Clavioline. Its circuitry was designed by the German engineer Harald Bode. There have been at least two series of Multimonica, with different control panel layout and schematics.
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It had 8-voice polyphony (paraphony) with one DCO per voice. It could be switched into double mode which stacks two DCOs for a fuller sound, but reduces the polyphony to 4 voices. It featured one analog resonant low-pass VCF with 24 dB/oct which was shared for all voices. Like a monophonic synthesizer, the filter was switchable between single or multiple modes.
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London: Macmillan, 2001. It consists of nineteen chapters; the first nine are devoted to notation, modes, and monophonic plainchant. Chapters 10-18 deal with polyphonic music. The author here shows how consonant intervals should be used to compose or improvise the type of early-medieval polyphonic music called organum, an early style of note-against-note polyphony several examples of which are included in the treatise.
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At the point where the first violins no longer play divisi, the score may indicate this with unison (abbrev. unis.). When an entire choir sings the main melody, the choir usually sings in unison. Music in which all the notes sung are in unison is called monophonic. In a choir with two or more sections, such as for different vocal ranges, each section typically sings in unison.
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Some are monophonic, while others are set in two to four parts of usually non-imitative polyphony. The monodic songs can be sung as two- or threefold canons. The relative simplicity, the dance rhythm, and the strong melodies of the songs have given the music collected in the Red Book a lasting appeal, and these songs are some of the most frequently recorded pieces of early music.
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Each region has a unique musical tradition that reflects its history, language and culture. Polyphonic singing and song forms are primarily found in South Albania, while in the North they are predominantly monophonic. Albanian iso-polyphony has been declared an UNESCO Intangible Cultural Heritage of Humanity. The Gjirokastër National Folklore Festival, held every five years in Gjirokastër, is an important venue exhibiting traditional Albanian music.
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Golden Hits of the Four Seasons is an LP album by The Four Seasons, released by Vee-Jay Records under catalog number LP-1065 as a monophonic recording in 1963, and later in stereo under catalog number SR-1065 the same year. The album features seven tracks that charted on the US pop chart, six of which within the top 40 and three number-one singles.
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Having been a record collector since the 1920s, Nunn began to make records to improve their audio quality. He was a recording engineer who believed monophonic sound (mono) was better than stereophonic sound (stereo). His records impressed High Fidelity magazine and G. A. Briggs, the designer of Wharfedale speakers. In 1947, he started Audiophile Records in Saukville, Wisconsin before moving it to Mequon, Wisconsin in 1965.
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This original tape recorder was one of the first machines permitting the simultaneous listening of several synchronised sources. Until 1958 musique concrète, radio and the studio machines were monophonic. The three-head tape recorder superposed three magnetic tapes that were dragged by a common motor, each tape having an independent spool. The objective was to keep the three tapes synchronised from a common starting point.
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Ballate are sung at the end of each day of Boccaccio's Decameron (only one musical setting of these poems, by Lorenzo da Firenze, survives). Early ballate, such as those found in the Rossi Codex are monophonic. Later, ballate are found for two or three voices. The most notable composer of ballate is Francesco Landini, who composed in the second half of the 14th century.
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Attribution of monophonic music of the medieval period is not always reliable. Surviving manuscripts from this period include the Musica Enchiriadis, Codex Calixtinus of Santiago de Compostela, the Magnus Liber, and the Winchester Troper. For information about specific composers or poets writing during the early medieval period, see Pope Gregory I, St. Godric, Hildegard of Bingen, Hucbald, Notker Balbulus, Odo of Arezzo, Odo of Cluny, and Tutilo.
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In 1995, Clavia released the Nord Lead. Called "a magic piece of electronics" by Sound on Sound it popularized the virtual analog type of synthesis. In 1997 the Nord Lead 2 was released, with many improvements, including increasing polyphony from 4 to 16 notes. The Nord Lead 3 was released in 2001, with a reworked sound engine, better D/A converters and monophonic aftertouch.
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The music consists almost entirely of a limited number of distinct kinds of texture. On the most basic level, one can distinguish five of these: fixed rhythmic passages, stochastic clouds, polyphonic arborescences, monophonic waves and silence (; . Chung offers different names for the textures, but with essentially the same content). A more complex analysis, offered by musicologist Ronald Squibbs, reveals that Evryali has four distinct "configuration types".
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Shortly after its initial release of the Memorymoog, Moog Music introduced the Memorymoog Plus (or Memorymoog+) as a replacement. The Plus featured a factory installed MIDI interface - making it amongst the very first electronic instruments to include a MIDI implementation - and a basic polyphonic and monophonic sequencer, the latter of which is used to control an externally interfaced monophonic synthesizer (via rear panel CV/gate/trigger jacks). The "Plus" MIDI/Sequencer package was also available from Moog Music as a field or factory retrofit for original "non-Plus" Memorymoogs. Much discussion has centered around the comparative playability and sonic differences between the Plus and Non-Plus Memorymoogs; notably, some Non-Plus owners insist that the original units are superior to the Plus model, as the on-board Zilog Z80 microprocessor reportedly has difficulty keeping up with the added demands of the MIDI/Sequencer circuitry, resulting in discernible latency and attack smearing.
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This array uses back to back cardioid microphones, one facing forward, the other backwards, combined with either one or two figure-eight microphone. Different channels are obtained by sum and difference of the figure-eight and cardioid patterns. When using only one figure-eight microphone, the double MS technique is extremely compact and therefore also perfectly compatible with monophonic playback. This technique also allows for postproduction changes of the pickup angle.
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The Harmonic Synthesizer was a monophonic synthesizer that was first produced in 1974 by the American Rocky Mount Instruments The case was made of black vinyl and had four chrome legs to support it. It features two sets of 16 harmonic drawbars. It also had a number of effects such as tremolo, portamento, noise modulation, oscillator sync and an arpeggiator. The digital circuitry ensures tuning stability during use.
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Bower specializes in the history of the medieval sequence. Consequently, Schola Antiqua's programs in the early years often included Notker's sequences and other monophonic settings. The ensemble's second Artistic Director, Michael Alan Anderson, more broadly researches the role of plainchant and polyphony in devotion, ritual, and political cultures of the late Middle Ages and Renaissance. Some of Anderson's research agenda is likewise embedded in the ensemble's past and current programming.
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That station, under its original WCAU call letters, had attempted during the late 1970s to compete with KYW with all-news programming. The effort failed, with WCAU switching to a talk format after a three-year effort. From 1986 to 1998, KYW used the C-QUAM AM Stereo system, but abandoned stereo broadcasts about the time of the CBS-Westinghouse merger and went back to standard monophonic broadcasts.
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This section is monophonic, with a highest note priority. The mono section can be modified by two envelope controls and a wah-wah; there is also a variable portamento. Only one timbre from each section can be used at a time. Each section has a brilliance control, which adds more top end to the sound, and a variable speed vibrato, which has a delay function, for delayed vibrato effects.
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Ever since 1991's Time Circle, 1968–1972 compilation album, bits and pieces from the soundtrack have been appearing on Spirit re-releases and later compilations. This official release marks the first time that all of the Model Shop recordings have been taken from the actual monophonic master mix of the film soundtrack. Previously issued recordings have often been alternate takes or were stereo mixes with increased production.
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The LCD The VL-1 featured a small LCD display capable of displaying 8 characters. This was primarily used for the calculator function, but also displayed notes played. The VL-1 also had changeable tone and balance, basic tempo settings and a real-time monophonic music sequencer, which could play back up to 99 notes. There were also 10 pre-loaded rhythms which utilized just three basic drum sounds.
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The drive system, start/stop system, brake and speed control are exactly as on the 927. Its bearing, though of a slightly reduced diameter than the 927’s, is on par for quality, and it is a ‘wet’ bearing too: it contains 25 cc of special EMT oil, that must be changed every time the turntable is serviced. The preamplifier of the monophonic 930 was the tube ‘139’.
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Before the 15th century, Western music was written by hand and preserved in manuscripts, usually bound in large volumes. The best-known examples of Middle Ages music notation are medieval manuscripts of monophonic chant. Chant notation indicated the notes of the chant melody, but without any indication of the rhythm. In the case of Medieval polyphony, such as the motet, the parts were written in separate portions of facing pages.
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A lahuta player wearing traditional Albanian clothing. The Ghegs from North of the Shkumbini River are known for a distinctive variety of sung epic poetry. The music of the north is particularly monophonic. Many of these are about the struggles of the Albanian people and history, the constant Albanian themes of honour, hospitality, treachery and revenge but also Skanderbeg, a legendary 15th century warrior who led the struggle against the Ottomans.
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Gregorian chant is the traditional chant of the Roman Rite. Being entirely monophonic, it does not have the dense harmonies of present-day chanting in the Russian and Georgian churches. Except in such pieces as the graduals and alleluias, it does not have melismata as lengthy as those of Coptic Christianity. However, the music of the Roman Rite became very elaborate and lengthy when Western Europe adopted polyphony.
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After the release of the film, composers produced a large number of movie soundtracks that featured synthesizers. The Minimoog was one of the most popular synthesizers ever built Notable makers of all-in-one analog synthesizers included Moog, ARP, Roland, Korg and Yamaha. Because of the complexity of generating even a single note using analog synthesis, most synthesizers remained monophonic. Polyphonic analog synthesizers featured limited polyphony, typically supporting four voices.
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While attending Louisiana State University, Jonathan switched to guitar and lead vocals in the band tWeezer, a Weezer cover band. They won the 2001 LSU Battle of the Bands and opened for such acts as Stroke 9, and The Verve Pipe. Also during this time, Pretus played in the short-lived Monophonic, which featured the Pretus-penned "Waiting To Fall" on a compilation of up-and-coming Louisiana artists.
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This electronic keyboard is an 8-voice polyphonic, bi-timbral analogue synthesizer with the ability to split or layer two sounds ("double" mode). It has 64 memory locations for sounds ("patches"). Patches may be "linked" in memory so that calling up one automatically calls up the second for a split or layer. A monophonic mode, with all eight oscillators producing the same sound at once, is also possible.
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The polyphony can be easily recognized, because the notator used a method similar to a modern score. There had been other methods as well. Some later additions in the early Troper-Proser (F-Pn lat. 1120) on folio 73v and on 77v look monophonic on the first sight, but the melody is organized in pairs so that each verse of it has to be sung together with an organum voice.
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It was organized, codified, and notated mainly in the Frankish lands of western and central Europe during the 12th and 13th centuries, with later additions and redactions, but the texts and many of the melodies have antecedents going back several centuries earlier. Although a 9th century legend credits Pope Gregory the Great with having personally invented Gregorian chant by receiving the chant melodies through divine intervention of the Holy Spirit, scholars now believe that the chant bearing his name arose from a later Carolingian synthesis of Roman and Gallican chant. During the following centuries the Chant tradition was still at the heart of Church music, where it changed and acquired various accretions. Even the polyphonic music that arose from the venerable old chants in the Organa by Léonin and Pérotin in Paris (1160–1240) ended in monophonic chant and in later traditions new composition styles were practiced in juxtaposition (or co-habitation) with monophonic chant.
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1–2 minutes Opening of the finale The short finale, marked Presto and in time, is a perpetuum mobile in "relatively simple" binary form consisting of parallel octaves played sotto voce e legato (similarly to the Prelude in E minor, Op. 28 No. 14) and not a single rest or chord until the final bars with a sudden fortissimo B bass octave and a B minor chord ending the whole piece. In this movement, "a complicated chromaticism is worked out in implied three- and four-part harmony entirely by means of one doubled monophonic line";Rosen (1995), p. 298 very similarly, the 5 measures that begin Bach's Fugue in A minor (BWV 543) imply a four-part harmony through a single monophonic line.Rosen (1995), p. 290 Garrick Ohlsson remarked that the movement is "extraordinary, because he’s written the weirdest movement he's ever written in his whole life, something which truly looks to the 20th century and post- romanticism and atonality".
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Alfonso X commissioned or co-authored numerous works of music during his reign. These works included Cantigas d'escarnio e maldicer and the vast compilation Cantigas de Santa Maria ("Songs to the Virgin Mary"), which was written in Galician-Portuguese and figures among the most important of his works. The Cantigas form one of the largest collections of vernacular monophonic songs to survive from the Middle Ages. They consist of 420 poems with musical notation.
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Shazam, a musical recognition app, is a recent social media and television asset from Silicon Valley. On a technical level, the app can listen to monophonic music which "can be represented by one-dimensional strings of characters, where each character describes one note or one pair of consecutive notes." These characters are part of long-coded algorithms which exist as songs in Shazam's vast catalogue. For every song, Shazam has a different algorithm.
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Devices select which function the pins perform depending on user settings or on the context or mode in which the device is being operated. Two different functions cannot be used at once. Using the connector may require a breakout cable or special headset. Most often, the user must buy a special adapter or pigtail to make the correct connections to a 2.5mm TRS connector for a monophonic headset or 3.5mm for stereo headphones.
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The Song You Heard When You Fell in Love was an LP album issued by Atlantic Records in 1958, featuring vocalist Betty Johnson. It was recorded in New York City. Except for the title song, all the numbers on the album were old standards, many dating back to the 1930s. Two versions of the album were released, a monophonic version (catalog number LP 8027) and a stereophonic version (catalog number SD 8027).
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This would take up much less bandwidth, particularly since voice can be highly compressed. The signal is partitioned so that RBDS, stereo, or other existing subcarriers can be protected, at the expense of bandwidth. If used only for monophonic transmissions, no RDS protection exists for stations in Europe. The codecs used are AAC and aacPlus v1 and v2 and sample rates of 8 kHz (telephone quality) to 96 kHz (surround sound quality).
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The five- part scoring and imitative textures employed in most of the chansons suggest that Van Wilder took a Flemish stylistic model, contrasting with the lighter, more homophonic style favoured by native French composers. A number of them are resttings of texts already set, sometimes several times, by other composers. The fragmentary En despit des envyeulx (a7) is a canonic treatment of a 15th-century monophonic chanson, and is one of five polyphonic surviving settings.
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Pérotin's four-part version of Viderunt, one of the few existing examples of organum quadruplum, may have been written for the Feast of the Circumcision in 1198. We know that at this time Eudes de Sully, Bishop of Paris, was promoting the use of polyphony. The melismas in particular are especially diminuted, rendering the text virtually incomprehensible. While only solo sections are polyphonic, the organum remains clear when juxtaposed with the traditional, monophonic choir chant.
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Columbia-Princeton Electronic Music Center was an album of electronic music released in 1964. It was the recording of a concert performed at the McMillin Theatre (today called the Miller Theatre) at Columbia University on May 9 and 10, 1961. The stereo version was MS 6566 and the monophonic version was ML 5966. There was a sequel released in 1998 on the New World label titled Columbia-Princeton Electronic Music Center 1961–1973.
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Released in 2007, version 4 introduced the Thor polysonic modular synth; a device that had discreet sound generating and processing modules that can be swapped out with various types of oscillators and filter combinations. It also released the RPG8 Monophonic Arpeggiator that breaks up chords into various note-triggering patterns. Finally the ReGroove mixer was introduced, a device that added shuffle controls and more human-qualities to sequenced patterns. Also Reason's linear sequencer was improved.
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In Albania there have been recorded about 70 variants from the regions of Berat, Dibër, Elbasan, Fier, Gjirokastër, Gramsh, Kolonjë, Korçë, Kukës, Lushnjë, Pogradec, Skrapar, Tepelenë and Vlorë. Outside Albania the song is found among the Albanians of Kosovo, the Arvanites of Euboea, southern Greece and the Cham Albanians of northwestern Greece (Çamëria). The Song of Tana can be sung as a polyphonic or monophonic song a cappella or with instrumental accompaniment.
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Mobile music is any audio file that is played on a mobile phone. Mobile music is normally formatted as an AAC (Advanced Audio Coding) file or an MP3, and comes in several different formats. Monophonic ringtones were the earliest form of ringtone, and played one tone at a time. This was improved upon with polyphonic ringtones, which played several tones at the same time so a more convincing melody could be created.
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The Roland MC-202 (MicroComposer) is a monophonic analog synthesizer and music sequencer released by Roland in 1983. It was the first groovebox.Roland MC-202 MicroComposer, Electronic Musician, November 2001 Its synth is similar to the TB-303 bass synth and the SH-101 synthesizer, featuring one voltage-controlled oscillator with simultaneous saw and square/pulse-width waveforms. It is a successor to the Microcomposer family of sequencers, including the MC-8 and MC-4.
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Fourteenth-century examples include estampies with subtitles such as "Isabella" and "Tre fontane" . Non-estampie dances found in Br. Lib. Add 29987 include dance pairs such as "Lamento di Tristano" and "La Manfredina" (each paired with a following "rotta"), and Dança amorosa (paired with a following "troto") . Though the estampie is generally monophonic, there are also two-voice compositions in the form of an estampie, such as the three for keyboard in the Robertsbridge Fragment.
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In summer 1994 Dieter Doepfer's main intention was to create an analog synth for his personal pleasure and he created a simple clone of the Roland TB-303. The MS-404 launched in December 1994. It was a monophonic MIDI controlled analog synthesizer with a 24db resonant filter. At first, 50 to 100 items were planned for the market launch, but then they received almost 500 orders in the first two months in 1995.
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The album also features Bill Graham, who introduces the band at the beginning of "Combination of the Two". The album's overall raw sound effectively captures the band's energetic and lively concerts. The LP was released in both stereo and mono formats with the original monophonic pressing now a rare collector's item. The album had been considered for quadraphonic format in the early '70s and eventually in 2002, was released as a Multichannel Sony SACD.
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200px The Moog Rogue is a monophonic analog synthesizer produced by the original Moog Music in the early 1980s, but, was not designed by Bob Moog. Very basic in its design and use, the Rogue featured a 32-note keyboard and two VCOs. VCO number 2 is tunable between a half-step below to an octave above VCO number 1. This allows the Rogue to play atonal sounds like the Moog Prodigy.
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He had a regional hit with a Bo Diddley-influenced instrumental called "Storm Warning" on Rex Records in 1959. At A&R; he and Charlie Miller recorded monophonic singles on 45s for Johnny Vincent and Joe Corona for local labels Ace, Ron, and Ric. He oversaw the rhythm section while Miller wrote the horn arrangements and headed up the horns. This continued until Miller moved to New York to study music formally.
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It is monophonic, with three oscillators but no LFO. Performance controls include a "swell" pedal with footswitch, and a spring-loaded knee controller. All four ranks use a common voice-card design (called a tone generator in Yamaha parlance) to produce their sounds. Each voice card features a voltage controlled oscillator with multiple waveforms, 2-pole high-pass and low-pass voltage controlled filters, and two envelope generators for filter modulation and VCA control.
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The song was published as a single in the last days of March 1967, in monophonic version, as the A-side of a 7″ vinyl disc which had È dall'amore che nasce l'uomo in the B-side. The cover picture, which also featured a psychedelic atmosphere, was shot by Mario Schifano. In October 1968, the song was included in the album Stereoequipe, where it was released for the first time in stereophonic version.
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Ambrosian chant is largely defined by its role in the liturgy of the Ambrosian rite, which is more closely related to the northern "Gallic" liturgies such as the Gallican rite and the Mozarabic rite than the Roman rite. Musically, however, Ambrosian chant is closely related to the Gregorian and Old Roman chant traditions. Many chants are common to all three, with musical variation. Like all plainchant, Ambrosian chant is monophonic and a cappella.
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The Beatles in Mono was released to reflect the fact that most of the Beatles' catalogue was originally mixed and released in the monophonic format. Stereo recordings were a fairly new concept for pop music in the 1960s and did not become standard until late in that decade. This explains why the Beatles' initial album releases were mixed for mono. By the late sixties, however, stereo recording for pop music was becoming more popular and, thus, the new standard.
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While most keyboard amplifiers produce monophonic sound, a small number of higher-priced, higher wattage keyboard combo amps have two speakers and two horns and can produce stereophonic sound. When a stereo keyboard amp is used with a stereo chorus effect or Leslie speaker simulator pedal, this can produce a spacious, full sound. Some keyboard amp combos have a stereo link output, which can be connected to a second keyboard amp combo to provide stereo sound onstage.
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With Body & Soul is an LP album by Julie London, released by Liberty Records under catalog number LRP-3514 as a monophonic recording and catalog number LST-7514 in stereo in 1967. Kirk Stuart served as pianist and arranger. One highlight of this collection is the Jimmy Radcliffe and Buddy Scott composed song "Treat Me Good", also recorded by Lu Elliott (1968), Irene Reid (1976) and an un-issued version from its co-author Jimmy Radcliffe (1968).
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Plainsong (calque from the French « plain-chant »; hence also plainchant; ) is a body of chants used in the liturgies of the Western Church. Though the Catholic Church (both its Eastern and Western halves) and the Eastern Orthodox churches did not split until long after the origin of plainsong, Byzantine chants are generally not classified as plainsong. Plainsong is monophonic, consisting of a single, unaccompanied melodic line. Its rhythm is generally freer than the metered rhythm of later Western music.
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Although realtones are technically mobile music, their popularity is driven mainly by the need for self-expression rather than standard enjoyment. Ringtones have also had a dramatic effect on the mobile content value chain. Monophonic and polyphonic ringtones had to be published for each of the phone models, which led to the growth of various successful businesses for companies such as InfoSpace and Jamba!, who would both publish the tones and interact with carriers for their distribution and billing.
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"Good Morning" contains additional vocals provided by Australian singer Connie Mitchell of the dance music group Sneaky Sound System, as well as soul singer Tony Williams. West had Connie Mitchell and Tony Williams sing a descending vocal line together over the looped sample. Their celestial unison singing and the floating monophonic vocal loop combine to form a warm background harmony. The oohing vocals from the ethereal backing choir function as a hook which serves to further engender moody atmosphere.
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During the early Christian era of the Middle Ages, sacred monophonic (only one voice) chant was the dominant form of music, followed by a sacred polyphonic (multi-voices) organum. By the thirteenth century, another polyphonic style called the motet became popular. During the Ars Nova era of the thirteenth and fourteenth centuries, the trend towards writing polyphonic music extended to non-Church music. In the fifteenth century, more secular music emerged, such as the French chanson.
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Jim Cairns, "Keyboard Encoders" jimspage.co.nz The diode prevents unwanted notes ("phantom keys") from being triggered, or intended notes from being masked ("phantom key blocking"). Monophonic instruments and most low-cost computer keyboards reduce costs by leaving out most or all of those diodes. To avoid "phantom keys", the keyboard controller in modern low-cost computer keyboards will ignore further key presses once two keys (other than modifier keys) have been pressed, which is known as jamming.
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RCA Victor issued two different recordings with Lanza of the songs from the film. The first, in 1954, was a genuine film soundtrack recording in monophonic sound. Rather than reissuing the original soundtrack in stereophonic sound (which would have been possible since the movie was filmed using 4-track stereo, and stereo records were released starting in 1958), RCA Victor recorded and released an all-new album in 1959. The original Dorothy Donnelly lyrics were restored to this album.
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1971's Nicholas and Alexandra, another roadshow release, was also shown in 70mm 6-track only in Europe, while its U.S. release was in regular Panavision with monophonic sound. In addition to the above, The Diary of Anne Frank (1959), Judgment at Nuremberg (1961) and The Longest Day (1962) were three epics that were shown in black and white instead of Technicolor. Before then, roadshow epics alternated between getting released in black and white or color.
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A state-of-the-art, multi-track stereo sound system heightened the sense of realism. Prior to the first Cinerama production, movies were projected on a nearly-square flat screen and the sound was one- channel monophonic. As a result of Cinerama the film industry adopted the single-projector wide-screen format and stereophonic sound as the norm. At the peak of Cinerama's popularity, there were over 200 theaters in the world capable of projecting Cinerama films.
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The lattice filter has an important application on lines used by broadcasters for stereo audio feeds. Phase distortion on a monophonic line does not have a serious effect on the quality of the sound unless it is very large. The same is true of the absolute phase distortion on each leg (left and right channels) of a stereo pair of lines. However, the differential phase between legs has a very dramatic effect on the stereo image.
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In Swedish folk music, songs are monophonic, unemotional, and solemn in character, though working and festive songs might be more lively and rhythmic. Danish songs melodies tend to lean toward the major. In Icelandic folk music, the rímur, a form of epic poem dating back to the medieval era and Viking Age, is prominent.; Faroese music contains dances directly descended from medieval ballad and epic poems, particularly from literature in the Icelandic tradition, and often follows unusual time signatures.
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St Andrews Cathedral, associated with the important 13th century 'Wolfenbüttel 677' manuscript In the early Middle Ages, ecclesiastical music was dominated by monophonic plainchant. The separate development of British Christianity from the direct influence of Rome until the 8th century, with its flourishing monastic culture, led to the development of a distinct form of liturgical Celtic chant.D. O. Croinin, ed., Prehistoric and Early Ireland: Prehistoric and Early Ireland, vol I (Oxford: Oxford University Press, 2005), p. 798.
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Jake Fragua, Jemez Pueblo from New Mexico Traditional Native American music is almost entirely monophonic, but there are notable exceptions. Native American music often includes drumming and/or the playing of rattles or other percussion instruments but little other instrumentation. Flutes and whistles made of wood, cane, or bone are also played, generally by individuals, but in former times also by large ensembles (as noted by Spanish conquistador de Soto). The tuning of modern flutes is typically pentatonic.
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It is widely believed that ison was first introduced in Byzantine practice in the 16th century.History of Byzantine chant at the Divine Music Project of St. Anthony Monastery It stresses or supports the melody.Introduction at the Divine Music Project of St. Anthony Monastery Before that Greek church chanting was purely monophonic (as it still remains in some more archaic traditions, such as Russian Znamenny chant). The drone practice may have been borrowed from the West, namely from Italy.
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"Móti Ragnarokum" contains monophonic sections mixed with other thicker sections. "Illa tiðandi" is easily the most minimalist track, with only two sections being repeated over the 10:29 duration, which are both simple piano melodies, eventually accompanied by a choral chant. "Illa tiðandi" is an alternative version of the song "Decrepitude I", while "Bálferð Baldrs" is an ambient version of the main riff from the song "Jesu død". Both of these songs appeared on Burzum's previous album Filosofem.
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In addition to her proficiency on a diverse range of musical instruments, and her natural business and entrepreneurial flair, Chan leads a highly technical life when it comes to music and computer technology. Working first with Yamaha as a new product demonstrator put Chan in front of much new music technology. She became proficient on the Yamaha DX7 – the first commercially successful digital synthesizer. She also took to the Minimoog – a monophonic analog synthesizer released in the early 1970s.
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Tape hiss, projector clicks, fireworks, fragments of human voices move around sometimes contrapuntal, sometimes monophonic arrangements. The time signatures are generally or . The lyrics of The Man Who Ate The Man are more poetic than rock'n'roll inspired, and concern city relationships ("Benny's Insobriety" and "Without Word") or similar, but set against a rural backdrop ("A Sad Ha Ha (Circled My Demise)" and "The Only Witching You'll be Doing"). The themes explore control, loss, reverence, worth, relationship-pacts.
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The most interesting aspect of the Ludus is the presence of thirty-eight (38) musical pieces with (semi-)sacred lyrics interspersed throughout the work. Of these, thirty-six (36) are monophonic and two polyphonic, while twenty are contrafacta whose models are usually named explicitly in the rubrics that accompany the music. The musical notation of the Ludus is that of the secular chansonniers or of plainchant. One of the original pieces is an Agnus Dei in two-parts conductus.
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Of all the surviving manuscript versions of Le Roman de Fauvel, the copy compiled by Chaillou de Pesstain (BN fr. 146), has attracted the most musicological attention due to the interpolated musical pieces in musical notation, which span the gamut of thirteenth- and early fourteenth- century genres and textures. The 169 pieces all have lyrics, 124 in Latin, 45 in French. The genres cover the liturgical and devotional, sacred and profane, monophonic and polyphonic, chant, old and new music.
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Pure Gold is a 1975 compilation album of 10 studio recordings by Glenn Miller and his Orchestra recorded between 1939 and 1942 by RCA Victor.Album artist 469 – Glenn Miller. The recordings were all originally issued as 78 RPM records on the RCA Bluebird and Victor labels and was certified Gold by the RIAA. The album was originally issued in reprocessed (fake) stereo sound; in 1988, RCA remastered the album for reissue on compact disc in original monophonic sound.
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The Moog Taurus, with its organ-style pedals The first true Moog bass instrument was the Moog Taurus, a pedal- operated analog synthesizer. Like the Moog, it remained a monophonic analog subtractive synthesizer, initially with 13 pedals in its first model. The Taurus II was expanded to include 18 pedals, and the Taurus III returned to 13. The Taurus was picked up by various progressive rock bands, including Led Zeppelin, Rush (band), Yes, Genesis, and Dream Theater.
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At this point, rival companies such as the aforementioned ARP Instruments were producing both monophonic and polyphonic synthesizers that rapidly outpaced the Moog in popularity. By 1975, ARP owned 40% of the synthesizer market share, effectively boxing out Moog Music, Inc. In 1976, Norlin moved the company to a facility on Walden Avenue in Cheektowaga. In 1977, once his contract with Norlin expired, Robert Moog officially left the company to pursue his own ventures, founding the firm Big Briar.
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Spirituals (or Negro spirituals) are generally Christian songs that were created by African Americans. Spirituals were originally an oral tradition that imparted Christian values while also describing the hardships of slavery."Celebrating Black Music Month", National Museum of African American History and Culture Although spirituals were originally unaccompanied monophonic (unison) songs, they are best known today in harmonized choral arrangements. This historic group of uniquely American songs is now recognized as a distinct genre of music.
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It targets monophonic music. Central to this method is how pitch is determined by the human ear. The process attempts to roughly mimic the biology of the human inner ear by finding only but a few of the loudest harmonics at a given instant. That small set of found harmonics are in turn compared against all the possible resultant pitches' harmonic-sets, to hypothesize what the most probable pitch could be given that particular set of harmonics.
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Some songs take the name of their qenet, such as tizita, a song of reminiscence. When played on traditional instruments, these modes are generally not tempered (that is, the pitches may deviate slightly from the Western-tempered tuning system), but when played on Western instruments such as pianos and guitars, they are played using the Western-tempered tuning system. Music in the Ethiopian highlands is generally monophonic or heterophonic. In certain southern areas, some music is polyphonic.
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Enhancements have been made to the specification of System B's audio capabilities over the years. The introduction of Zweiton in the 1970s allowed for stereo sound or twin monophonic audio tracks (possibly in different languages for instance). This was implemented by adding a second FM audio subcarrier at +5.74 MHz. Alternatively, starting in the late 1980s and early 1990s it became possible to replace the second audio FM subcarrier with a digital signal carrying NICAM sound.
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In October 1982, the group was invited to record three songs at Vara's Popkrant, which resulted in national airplay. In April 1983, they played live at KRO Rocktempel which brought them to several record companies, but no one seemed to be interested. Around the summer of 1983, Niels Hermes' good old Fender Rhodes and ARP monophonic synthesizer were stolen. This resulted in buying the polyphonic Roland JX-3P and Yamaha DX7 synthesizers which caused a big change in sound.
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In June 2010, Arturia reached out to synthesizer designer Yves Usson of YuSynth in order to gain insight into the production of analog hardware. Usson designed schematics for the circuitry of the MiniBrute and helped troubleshoot technical problems. The release of the MiniBrute was first announced at the 2012 NAMM Show. There was some uncertainty about whether or not a monophonic synthesizer would sell well compared to contemporary digital and analog competitors, which were mostly polyphonic.
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The function of the song can be determined from the melody. Others songs do mention the work process, naming almost every step: sowing, harrowing, cultivating, reaping, binding, stacking, transporting, threshing, milling, and even eating. In addition to the monophonic oat harvesting songs of Dzūkija, there are quite a few sutartinės from northern Aukštaitija, which are directly related to the job of growing oats. Buckwheat pulling songs, which are found only in Dzūkija, do not mention the work.
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Agapē Agape is a novel by William Gaddis. Published posthumously in 2002 by Viking with an afterword by Joseph Tabbi, Agapē Agape was Gaddis' fifth and final novel. It was published in Great Britain with the contents of The Rush for Second Place as Agapē Agape and Other Writings by Atlantic Books in 2004. Agapē Agape is written in a paragraphless, monophonic style strongly reminiscent of that of Austrian writer Thomas Bernhard, who is referred to in the book itself.
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His student Harald Genzmer wrote two concertos with orchestra, one for the monophonic Trautonium and, later, one for Oskar Sala's "Mixtur- Trautonium". One of the first additions of Sala was to add a switch for changing the static tuning. Later he added a noise generator and an envelope generator (so called 'Schlagwerk'), formant filter (several bandpass filters) and the subharmonic oscillators. These oscillators generate a main pitch and several subharmonics, which are not multiples of the fundamental tone, but fractions of it.
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A subcarrier is a sideband of a radio frequency carrier wave, which is modulated to send additional information. Examples include the provision of colour in a black and white television system or the provision of stereo in a monophonic radio broadcast. There is no physical difference between a carrier and a subcarrier; the "sub" implies that it has been derived from a carrier, which has been amplitude modulated by a steady signal and has a constant frequency relation to it.
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The cantu a chiterra (Sardinian for "singing with guitar") is a typical Sardinian form of monophonic singing in Sardinian language and Gallurese, accompanied by a guitar. This type of song is particularly prevalent in the northern part of the island; in particular in the Logudoro, Goceano, Planargia and Gallura. Very likely, some of the songs existed before the invention of the guitar, for example, Cantu in re (Song in D), but with the advent of the instrument they have developed different variations.
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The first generation of ringtones were monophonic instrumental renditions of popular and sometimes original tunes. Users could pay to download ringtones to their mobile phones, optionally attaching them to incoming calls from select individuals in their address books. Second generation polyphonic ringtones first became popular in 2002 and encoded sequences of MIDI commands that provided higher fidelity, but these too are purely instrumental. In 2004 ringtones represented a $4 billion global market, almost all of it outside the United States of America.
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This album was made by only Synthi AKS. Thomas Lehn playing Synthi A & DK keyboard When launched in 1972, the Synthi AKS retailed for around £450. There was an optional three octave (37 note) DK1 monophonic keyboard available for it, later the DK2 (Dynamic Keyboard 2) was available, this allowed independent control of two Oscillators, thus enabling the player to play two notes together. As with the VCS3, a Synthi AKS was worth considerably more than its original price by the late 1970s.
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The caccia was often in three-part harmony, with the top two lines set to words in musical canon. The early ballata was often a poem in the form of a virelai set to a monophonic melody. The Rossi Codex included music by Jacopo da Bologna, the first famous Trecento composer. The Ivrea Codex, dated around 1360, and the Squarcialupi Codex, dated around 1410, were major sources of late Trecento music, including the music of Francesco Landini, the famous blind composer.
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A monophonic synthesizer or monosynth is a synthesizer that produces only one note at a time, making it smaller and cheaper than a polyphonic synthesizer which can play multiple notes at once. This does not necessarily refer to a synthesizer with a single oscillator; The Minimoog, for example, has three oscillators which are settable in arbitrary intervals, but it can play only one note at a time. Well-known monosynths include the Minimoog, the Roland TB-303, and the Korg Prophecy.
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In the early Middle Ages, ecclesiastical music was dominated by monophonic plainchant.R. McKitterick, C. T. Allmand, T. Reuter, D. Abulafia, P. Fouracre, J. Simon, C. Riley-Smith, M. Jones, eds, The New Cambridge Medieval History: C. 1415- C. 1500 (Cambridge: Cambridge University Press, 1995), , pp. 319–25. The development of British Christianity, separate from the direct influence of Rome until the eighth century, with its flourishing monastic culture, led to the development of a distinct form of liturgical Celtic chant.D. O. Croinin, ed.
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Indian classical music (marga) is monophonic, and based on a single melody line or raga rhythmically organized through talas. Carnatic music is largely devotional; the majority of the songs are addressed to the Hindu deities. There are a lot of songs emphasising love and other social issues. In contrast to Carnatic music, Hindustani music was not only influenced by ancient Hindu musical traditions, Vedic philosophy and native Indian sounds but also by the Persian performance practices of the Afghan Mughals.
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A page from the manuscript: note red staff and capital The Codex Las Huelgas (E-BUlh) is a music manuscript or codex from c. 1300 which originated in and has remained in the Cistercian convent of Santa María la Real de Las Huelgas in Burgos, in northern Spain. The convent was a wealthy one which had connections with the royal family of Castile. The manuscript contains 45 monophonic pieces (20 sequences, 5 conductus, 10 Benedicamus tropes) and 141 polyphonic compositions.
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The 4 Seasons Greetings is the second studio album by The Four Seasons. It was released in 1962 on Vee-Jay Records as a monophonic recording and later again the same year in stereo. Side one features traditional carols, while the second side contains their contemporary, rock and pop flourishes. The album was initially reissued in 1966 on Philips Records with a new title, The 4 Seasons' Christmas Album, and different cover artwork, and again, on Curb Records in 2002.
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After his studies in Germany at the Heinrich-Heine-Universität Düsseldorf,Diploma in Mathematics, Heinrich Heine Universität Düsseldorf, 2 März 2002 he started developing technologies for the internet and mobile industrySelfmade-Millionaire, n-tv.de, 23 November 2015The Quan interviews: Chris Tomic, thequan.nl, September 2013 in Düsseldorf with the company Novadoc GmbH until 2001. Tomic created the UCP protocol and set the standard for the worldwide first delivery of binary messages to mobile handsets such as operator-logos and monophonic ringtones in 1998.
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The Little Phatty is a monophonic analog synthesizer manufactured by Moog Music from 2006 to 2013, preceded by the Voyager and succeeded by Voyager Old School. Its design was conceived, in part, by Robert Moog himself, and is the last instrument to have that distinction, although the primary engineer was Cyril Lance. It is also the first Moog product to be produced following his death. Jordan Rudess of the band Dream Theater also assisted with the design of the product.
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The step sequencers played rigid patterns of notes using a grid of (usually) 16 buttons, or steps, each step being 1/16 of a measure. These patterns of notes were then chained together to form longer compositions. Sequencers of this kind are still in use, mostly built into drum machines and grooveboxes. They are monophonic by nature, although some are multi-timbral, meaning that they can control several different sounds but only play one note on each of those sounds.
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This one is of the January 27, 1951 concert devoted to the Verdi Requiem, previously recorded and released in high-fidelity monophonic sound by RCA Victor. Recently a separate NBC tape of the same performance, using a different microphone in a different location, was acquired by Pristine Audio. Using modern digital technology the company constructed a stereophonic version of the performance from the two recordings which it made available in 2009. The company calls this an example of "accidental stereo".
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Hiley, "Chant", Performance Practice: Music before 1600 p. 44. "The performance of chant in equal note lengths from the 13th century onwards is well supported by contemporary statements." While the standard repertory of Gregorian Chant was partly being supplanted with new forms of polyphony, the earlier melo-rhythmic refinements of monophonic chant seem to fall into disuse. Later redactions such as the Editio medicaea of 1614 rewrote chant so that melismata, with their melodic accent, fell on accented syllables.Apel, Gregorian Chant p. 289.
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The album was designed as a concept album. Albums from the time period tended to be little more than collections of singles, but Sinatra developed a distinction between songs intended as singles for radio airplay and for jukeboxes, and those songs he intended to package together in an album. His sessions intended for album release tend to be more serious, artistically. In the Wee Small Hours was recorded before stereophonic technology, but the fidelity of this monophonic album feels "warm" to modern ears.
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He was a transitional figure from the trouvère period to the ars nova. His lyrical style unites him with the composers of the later period. The sole source for his music is the same manuscript (Paris, Bibliothèque nationale de France, MS français 146) which preserves the interpolated version of the Roman de Fauvel. Most of his works are monophonic songs, in the style of the trouvères; only one of his 34 works is polyphonic, although he wrote other works which have not survived.
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Automat is an album of instrumental electronic music composed by the Italian musicians Romano Musumarra and Claudio Gizzi. It was produced in 1977 and released in 1978 by EMI Italy, through its Harvest label. All the sounds in this album were generated by the MCS70, a monophonic analog synthesizer designed, built and programmed by the Italian engineer Mario Maggi. Automat was Musumarra's initiative – after learning about the new instrument, he proposed to EMI Italy that he produce an album of electronic instrumental music.
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Also available is a unison mode which renders the keyboard monophonic but allows for very rich sounding timbres. The Six-Trak is prominently featured and can be heard on the 1998 minimalist space music CD release The Dream Garden, by musician/composer Dane Rochelle. More recently it has been used by composer Christopher de Groot for the 2012 soundtrack to Australian feature film "Sororal". The Six-Trak's more famous sibling is the Prophet 5, widely used in much of the 1970s progressive rock.
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Unfortunately, if the wire breaks it can easily become tangled, and snarls are extremely difficult to fix. Sometimes the only practical solution is to carefully cut the tangled portion away from the spool—an operation which runs the risk of endlessly enlarging the problem—and discard it. The difficulty of handling the wire itself when necessary is arguably the only serious shortcoming, among several definite advantages, of steel wire as a monophonic recording medium. Editing is accomplished by cutting and splicing.
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The task of many note detection algorithms is to search the spectrogram for the occurrence of such comb patterns (a composite of harmonics) caused by individual notes. Once the pattern of a note's particular comb shape of harmonics is detected, the note's pitch can be measured by the vertical position of the comb pattern upon the spectrogram. There are basically two different types of music which create very different demands for a pitch detection algorithm: monophonic music and polyphonic music.
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His style is progressive, sometimes experimental, but curiously conservative in other ways. While he used imitation, a relatively new musical technique, and heterophonic texture, one of the rarest textures in European music, he also still used parallel perfect intervals. Voice crossings are common, when he wrote for more than one voice (most of his music is monophonic). In addition he used chromaticism to a degree rare in the 14th century, at least prior to the activity of the composers of the ars subtilior.
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The Mother-32 is a semi-modular analog synthesizer. Introduced in 2015, it was the first tabletop unit produced by Moog Music. It has a single voltage controlled audio oscillator, a voltage controlled low frequency oscillator, a voltage controlled filter switchable between high and low pass, an AR envelope generator with switchable sustain, a voltage controlled amplifier, and a white noise generator. It also features a 32–step monophonic sequencer , a 13-note keypad, and a 32-point patch bay including assignable outputs.
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Hilversum, Verloren, 1996. , p.70 These 'monophonic' sources which do not provide any musical notation include also secular contrafacta. Although the text extant in the Antwerp songbook can be sung without too much difficulty by the tenor voice in the oldest settings such as these by Tijling and Obrecht, and although the tune of the extant non- polyphonic versions is related to but quite different from the tenor of the polyphonic versions, most of the polyphonic compositions can be regarded as instrumental settings.
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That same year Broderbund acquired the rights to develop Star Wars games from Lucasfilm. Broderbund published the Apple II, Macintosh, Commodore 64, and MS-DOS versions of the arcade game in North America in 1988, in addition to republishing the Atari ST and Amiga versions in 1989. The Amiga and Atari ST allow mouse control and include digitized sound effects. The Macintosh version contains sampled speech from the films, but has no in-game music other than a monophonic theme during the "attract" mode.
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After his musical studies according to the European curriculum at the Tashkent conservatory he graduated in 1959 with the state examination. Because of the Soviet cultural politics using the customary instruments was still permitted but mainly for a European repertoire. By the discrepancy between the monophonic Uzbek music and the European polyphony this constraints led to an artificial cultural hybrid. In spite of his artistic successes in Tashkent Ari Babakhanov returned to Bukhara, where he taught for the following 40 years at the music college.
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Since CEDs were a disc-based system, they did not require rewinding. Early discs were available only in monophonic sound, but many later discs were issued in stereo sound. (Mono CED discs were packaged in white protective caddies, while the caddies for stereo discs were blue.) Other discs could be switched between two separate mono audio tracks, providing features such as bilingual audio capability. Like the LaserDisc and DVD, some CEDs feature random access, allowing users to quickly move to certain parts of the movie.
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Love on the Rocks is an LP album by Julie London, released by Liberty Records under catalog number LRP-3249 as a monophonic recording in 1963, and later in stereo under catalog number LST-7249 the same year. Basic tracks were recorded at Liberty Records' new Chicago studios in three late-night sessions after Julie had finished her evening live performances at Mister Kelly's nightclub. Additional tracks were recorded later in Los Angeles, where arranger Pete King also added orchestral overdubs.Owen 2017, p. 130.
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The Synthex is an 8-voice analog synthesizer with 2 oscillators per note, separate envelope generators, and chorus. The use of stable DCOs (digitally controlled analog oscillators) and oscillator cross modulation of pulse width and a multimode filter made it unique in its time. Unusually, the Synthex also contained a built in real-time and step-time 4-track monophonic sequencer with real-time transposition. The four different sequencer tracks can have different length and sounds (Upper/Lower can be allocated to different tracks).
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In television, unlike monophonic radio, at least two signals should be transmitted; audio (AF) and video (VF) signals. Transmitting those signals by means of separate transmitters and antenna systems is a very costly solution. Because every stage must be used twice, one for AF and one for VF. Two separate transmitters, a high power combiner and a common antenna system, known as split sound system, is also quite costly. But if the signals are combined at an earlier stage, number of costly outer stages is reduced.
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In a 14th-century Italian manuscript in the British Library (Add. 29987), folios 55v-58r and 59v-63v, contain 15 monophonic pieces of music, the first eight of which are labeled istanpitta. Of the next seven pieces, 4 are called saltarello, one trotto, one Lamento di Tristano, and the final one is labeled La Manfredina. These are the only known examples of instrumental dance music from Italy in the Middle Ages and all of them have similarities to earlier French dance pieces called estampie.
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The Solina String Synthesizer, also erroneously known as the ARP Solina String Synthesizer or sometimes the ARP String Synthesizer, is a combination of a string synthesizer and synthesizer. It is a hybrid model which combined both the Solina String Ensemble string synthesizer and the ARP Explorer monophonic synthesizer. It was built in Bodegraven, Netherlands by Eminent B.V.. Supposedly only about 100 were ever produced.Solina String Synthesizer, Vintage Synth Explorer The addition of the ARP Explorer to the Solina string sounds made for a very powerful combination.
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At the same time, the polyphonic nature of Georgian music influenced monophonic melodies of the Armenian, Turkish and Iranian origin, and they became polyphonic (usually three-part with the original melody in the middle part). From the second part of the 19th century a new popular musical style came to Georgia. This was European classical music, based on parallel thirds and triadic harmonies. Opening of the opera in 1850 had a profound influence on Georgian urban societies and soon a new style songs became very popular.
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The wood flute was of particular significance. Arid American Southwest is home to two broad groupings of closely related cultures, the Pueblo and Athabaskan. The Southern Athabaskan Navajo and Apache tribes sing in Plains-style nasal vocals with unblended monophony, while the Pueblos emphasize a relaxed, low range and highly blended monophonic style. Athabaskan songs are swift and use drums or rattles, as well as an instrument unique to this area, the Apache fiddle, or "Tsii'edo'a'tl" meaning "wood that sings" in the Apache language.
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The Yamaha CS30/CS30L is an analog keyboard synthesizer that was released in 1977. It is the top of the range in Yamaha's original line-up of monophonic synthesizers, others in the range being the CS5, CS10 and CS15. It features two voltage controlled oscillators (VCOs), two voltage controlled filters (VCFs - both featuring low-pass, band-pass and high-pass options), two voltage controlled amplifiers (VCAs) and three envelope generators. It also sports a ring modulator and a voltage controlled low-frequency oscillator (LFO).
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The Brethren introduced the sacred song in the vernacular language as a basic element of the church service. Although the Unity of the Brethren was just a small religious group, its contribution for the development of the Czech monophonic sacred song is indisputable. Their first hymnal (in Czech) was printed in 1501 as the first printed hymnal in the whole Christian world (containing 89 hymns without tunes). During the 16th and early 17th century, the Unity became the foremost producer of hymns in Czech lands.
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The image collection is added to on a regular basis thanks to donations from libraries and collaborations with projects who acquire images and are able to donate them to DIAMM for display. The project has recently benefited from collaborations with two AHRC-funded projects: Sources of British Song (contributing images of manuscripts of monophonic song c. 1150-1300. The project uses sub-pages on DIAMM for its website) and Tudor Partbooks (contributing images of all Tudor partbooks dating from c. 1500 to c. 1630).
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After the introduction of the softer vinyl records, -rpm LPs (long-playing records) and 45-rpm "single" or two-song records, and EPs (extended-play recordings), the common name became "record player" or "turntable". Often the home record player was part of a system that included a radio (radiogram) and, later, might also play audiotape cassettes. From about 1960, such a system began to be described as a "hi-fi" (high-fidelity, monophonic) or a "stereo" (most systems being stereophonic by the mid-1960s).
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The Experience's performance at the Coliseum was not professionally recorded, however, a monophonic sound recording was made by fan Ken Koga. The set list for the concert was one typical of the 1969 tour, featuring staples "Fire", "Purple Haze" and "Spanish Castle Magic". Other songs include the improvised "Hey Joe", blues numbers "Red House" and "Hear My Train A Comin'", the extended "Foxey Lady" and the finale of the night, an eighteen-minute jam on "Voodoo Child (Slight Return)", with Jefferson Airplane's Jack Casady on bass.
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Conceptually, it is easy to see in the cauda, the root of the modern term, coda, which arrived when Latin was replaced by Italian as the musical lingua franca. Two notable examples occur in Vetus Abit Littera, a four-voice Christmas conductus from the Florence manuscript, and Dic Christi, Veritas, a tirade against clerical hypocrisy written by Philip the Chancellor. The latter is found in the Carmina burana manuscript in a monophonic version and in the Paris sources in an elaborate three-voice setting, laden with caudae.
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From a technical point of view, the album demonstrates the limitations of the recording technology of the time. A substantial number of vinyl albums were issued in monophonic format, since many home record players, at least in the United Kingdom, could not reproduce stereophonic sound. On the stereophonic releases, including the CD re-releases, the stereo imaging separates the instruments quite strongly. For instance, in the song "Walking on Sunset", the drum kit, situated on the left, is inaudible in the right hand channel.
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'Rondo and the part-equivalent French term ' are words long used in music in a number of ways, most often in reference to a musical form. Despite the common etymological root, rondo and rondeau as musical forms are essentially different. Rondo is strictly an instrumental musical form that was developed beginning in the 17th century. Rondeau, on the other hand, is a vocal musical form that was originally developed as monophonic music (in the 13th century) and then as polyphonic music (in the 14th century).
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"I Love You Love Me Love" is a song by English glam rock singer Gary Glitter. Written by Glitter with Mike Leander and produced by Mike Leander (unusually in monophonic sound), "I Love You Love Me Love" was Glitter's second number- one single on the UK Singles Chart, spending four weeks at the top of the chart in November 1973, and establishing itself as one of the top 10 best- selling singles of 1973 in the UK. It reached No. 2 in both Ireland and Australia.
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The call history of the 8810 stores 30 previous calls: 10 dialed, 10 received and 10 missed. There are 35 preloaded monophonic ringtones on the phone and additional ringtones are available for download at a cost. The phone features the ability to make conference calls, hold calls and send DTMF tones. However, the phone does not feature a built in loudspeaker, which was unusual considering many lower quality phones which did not fall into the same price bracket as the Nokia 8810 were built with loudspeakers.
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Discovery is a software synthesizer VSTi and Audio Units plugin designed and distributed by discoDSP originally released on February 10, 2003. On September 4, 2008, discoDSP released a version for Linux marking the first commercial VSTi plugin available on Linux platform.Linux Journal - Discovery - VSTi Analog Synthesis For Linux Discovery is also available for Windows and Mac OS X. By design Discovery is a subtractive synthesizer with 4 voices (2 oscillators each). It has built in arpeggiator, selection of filters including formant filters, monophonic and polyphonic operation.
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In the 1960s, it was common practice to generate stereo versions of music from monophonic master tapes, which were normally marked "electronically reprocessed" or "electronically enhanced" stereo on track listings. These were generated by a variety of processing techniques to try to separate out various elements; this left noticeable and unsatisfactory artifacts in the sound, typically sounding "phasey". However, as multichannel recording became increasingly available, it has become progressively easier to master or remaster more plausible stereo recordings out of the archived multitrack master tapes.
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"Unison" (monophonic mode) can be programmed for each patch. In this mode, the envelopes are re-triggered only after all keys are released ("legato", with low-note priority), and a delay of four oscillators relative to the other four can be programmed (fixed at 20, 40 or 80 milliseconds). A program can be "linked" to another so that both are called up and assigned correctly in a split or layer. There is also a programmable output level for each patch to help balance loud and soft sounds.
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The preservation of his works in a single book is an identical case to that of fellow trouvères Adam de la Halle and Jehannot de l'Escurel. The only reference to Guillaume (the French form of William) outside of the chansonnier is in a list of taxpayers in Amiens in 1301, which mentions a "William the Painter" (Willelmi pictoris in Latin). Guillaume's musical corpus comprises eight monophonic rondeaux, two chansons d'amour, and one virelai. He also wrote four other lyric poems which do not survive with music.
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Both outputs produce monophonic sound; a headphone jack on the front of the console produces stereo sound. On the model 2, the DIN port, radio frequency output port, and headphone jack are replaced by a 9-pin mini-DIN port on the back for composite video, RGB and stereo sound, and the standard RF switch. Earlier model 1 consoles have a 9-pin extension port, although this was removed in later production runs. An edge connector on the bottom right of the console can be connected to a peripheral.
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Međimurska popevka is a form of folksinging widespread throughout the northern part of Croatia bordering Slovenia and Hungary. It has historically been performed by solo female vocalists, although in modern times it is performed both individual and in groups, and both men and women. The songs can be performed in vocal, vocal instrumental, or instrumental as well as monophonic/multipart renditions, as musical genre, or incorporated into dance. Popevka commonly takes place in social and community gatherings, such as weddings, religious gatherings, annual holidays, and in modern times, folk festivals.
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In these works, the source hymns are often presented in a condensed form. When the Council of Trent prohibited the use of secular songs as sources for masses in 1562, a large corpus of music was no longer available to composers who had been ransacking it for parodies; those composers who followed the Council's dictates often returned to using monophonic hymns and plainsong, sources which suggested the paraphrase technique. Indeed, during this period, it was the favored method of using Gregorian chants to construct masses.Harvard Dictionary of Music, p. 608.
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IBM Advanced BASIC (BASICA.COM) was also included in the original IBM PC DOS, and required the ROM-resident code of Cassette BASIC. It adds functions such as diskette file access, storing programs on disk, monophonic sound using the PC's built-in speaker, graphics functions to set and clear pixels, draw lines and circles, and set colors, and event handling for communications and joystick presses. BASICA will not run on non-IBM computers (even so-called "100% compatible" machines) or later IBM models, since those lack the needed ROM BASIC.
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Though the Mellotron was not extensively used in the 1980s, a number of bands featured it as a prominent instrument. One of the few UK post-punk bands to do so was Orchestral Manoeuvres in the Dark, who featured it heavily on their platinum-selling 1981 album Architecture & Morality. Andy McCluskey has stated they used the Mellotron because they were starting to run into limitations of the cheap monophonic synthesizers they had used up to that point. He bought a second-hand M400 and was immediately impressed with the strings and choir sounds.
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Fisher sold his interest in Philharmonic Radio and founded his second audio firm, Fisher Radio Company, which developed, manufactured and marketed high- performance audio products under the trade name "The Fisher". The Fisher 500 (TA500), Fisher's first HiFi receiver (1957) By the 1950s, the term receiver was used instead of radio for a unit that combined a tuner and an amplifier, but lacked speakers. In 1957, the Fisher Radio Company produced their first high fidelity FM/AM receiver, the monophonic 14-tube Fisher 500 (TA500). In 1958, H.H. Scott, Inc.
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A monophonic power amplifier, which is called a monoblock, is often used for powering a subwoofer. Other modules in the system may include components like cartridges, tonearms, hi-fi turntables, Digital Media Players, digital audio players, DVD players that play a wide variety of discs including CDs, CD recorders, MiniDisc recorders, hi-fi videocassette recorders (VCRs) and reel-to-reel tape recorders. Signal modification equipment can include equalizers and signal processors. This modularity allows the enthusiast to spend as little or as much as they want on a component that suits their specific needs.
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The ARP Little Brother, produced from 1975 to 1977, is a keyboardless monophonic expander module, sold as an add-on for another ARP synthesizer. It was controlled by connecting the control voltage (CV) output of an ARP synthesizer's keyboard to the Little Brother's CV input. The Little Brother had a single voltage controlled oscillator (VCO) with selectable waveforms, and a sub-octave divider that could produce up to three additional tones simultaneously at -1, -2 and -3 octave intervals. It also had an LFO, and a pitch bend/master tuning knob.
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Casio CZ-1 mode panel The CZ synthesizers also had the ability to stack up two different sounds via the "tone mix" feature resulting in a functionally monophonic synthesizer; this was Casio's version of the "unison" feature other polyphonic synthesizers had. Each part in a two-patch stack could be a different patch, allowing great flexibility in stacked sounds. It was not possible to detune the two patches in a tone mix stack; this could be somewhat worked around, however, by giving each of the two patches a different vibrato rate.
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M. Hayes, 3-D movies: a history and filmography of stereoscopic cinema, McFarland & Company, 1989 p 42 Only the monophonic soundtrack and a separate sound-effects-only track were said to have survived. As of 2013, no copy of the original three-channel stereo soundtrack is known to exist. A new stereo soundtrack has been synthesized from the available source material. The 3-D screenings of the film included an intermission, which was necessary to change the film's reels, because each projector of the theater's two projectors was dedicated to one of the stereoscopic images.
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The Steiner-Parker Synthacon is a monophonic analog synthesizer that was built between 1975 and 1979 by Steiner-Parker, a Salt Lake City-based synthesizer manufacturer. It was introduced as a competitor to other analog synthesizers, like the Minimoog and ARP Odyssey. The Synthacon includes three voltage- controlled oscillators, a two-pole resonant Sallen Key filter, two ADSR envelope generators, a pink and white noise generator, and a 49-key keyboard. While the Synthacon was not a modular system, signal routing could be achieved through a series of switches.
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During the 1990s, electronic devices which used digital signal processing (DSP) to reproduce HRTFs were made commercially available. These devices would allow the sound engineer to use dialled parameters to adjust the apparent direction of real time sounds. They were unusual and expensive, but would allow the sound engineer to alter special effects of prerecorded sounds quickly and conveniently. Through the manipulation of the parameters, sound engineers could take a monophonic recording of a passing car and make it sound as if it were passing behind them in real time.
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The first is that it provides only a crude binary on/off signal for each key. Better electronic musical keyboards employ two sets of switches for each key that are slightly offset. By determining the timing between the activation of the first and second switches, the velocity of a key press can be determined—greatly improving the performance dynamic of a keyboard. The second is that instruments with a matrix circuit can only play in a monophonic fashion without the addition of a diode for each key crossing.
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Some extremely obscure names survive in later sources, such as Bartolo da Firenze (fl. 1330–1360), who may have been the first Italian composer to write a polyphonic mass movement in Trecento style: a setting of the Credo. The two most common forms of early Trecento secular music were the two-voice madrigal and monophonic ballata. Some three-voice madrigals survive from the earlier periods, but the form most associated with three-voice writing was the rarer caccia, a canonic form with onomatopoeic exclamations and texts that make reference to hunting or feasting.
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The typical keyboard style of the time seems to have placed the tenor of a secular song or a melody from plainchant in equal tones in the bass while a fast-moving line was written above it for the right hand. The surviving sources are likely among the few witnesses of a largely improvised tradition. Other instrumental traditions are hinted at by the monophonic, dances without text in a manuscript now in London (British Library, add. 29987) and in imitations of instrumental style in sung madrigals and cacce such as Dappoi che'l sole.
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Arturia entered the hardware synthesizer market in 2012 with the MiniBrute, a vintage-style 25-key monophonic analog synthesizer with one voltage controlled oscillator, two low-frequency oscillators, and a multimode Steiner-Parker filter. The synthesizer was introduced at the 2012 NAMM Show. Despite pre-production uncertainty about sales, the MiniBrute sold well due to its low price point and expressive sound. In the following year, Arturia announced their next hardware synthesizer, the MicroBrute, a smaller and less expensive version of the MiniBrute with minikeys, a patch bank, and a sequencer.
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A cantiga (cantica, cantar) is a medieval monophonic song, characteristic of the Galician-Portuguese lyric. Over 400 extant cantigas come from the Cantigas de Santa Maria, narrative songs about miracles or hymns in praise of the Holy Virgin. There are near 1700 secular cantigas but music has only survived for a very few: six cantigas de amigo by Martín Codax and seven cantigas de amor by Denis of Portugal. Cantiga is also the name of a poetic and musical form of the Renaissance, often associated with the villancico and the canción.
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Latin for Lovers was a Doris Day album, mostly composed of songs originating in Latin America, released by Columbia Records on March 22, 1965 as a monophonic LP (catalog number CL-2310) and a stereophonic album (catalog number CS-9110). Although "Fly Me to the Moon" was not of Latin-American origin, it was an early song adapted to the bossa nova dance then becoming popular, and so associated at the time with Latin America. A Columbia 45 r.p.m. single. #4-43278, was released to coincide with the album.
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The Mother-32 is an analog semi-modular desktop synthesizer released by Moog Music Inc. in 2015. The Mother-32 features an analog monophonic sound engine, a 13 note keypad, a step sequencer storing up to 64 sequences of up to 32 steps each, one voltage controlled oscillator with pulse and saw waveforms ranging from 8Hz to 8KHz (16KHz max with LFO/CV), one state-variable (low- and high-pass) voltage controlled filter, and a white noise generator. There are 32 individual 3.5 mm phone jack patch points for sound programming.
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Frank Zappa experimented in the early 1960s with a custom built five-track recorder built by engineer Paul Buff in his Pal Recording Studio in Rancho Cucamonga, California. Buff later went on to work in larger Hollywood studios. However, recorders with four or more tracks were restricted mainly to major American recording studios until the mid-to-late 1960s, mainly because of import restrictions and the high cost of the technology. In England, pioneering independent producer Joe Meek produced all of his innovative early 1960s recordings using monophonic and two-track recorders.
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"Autobiography", which is "meant for monophonic tape and visible but silent author",... Three of the stories - "Ambrose, His Mark"; "Water-Message"; and the title story, "Lost in the Funhouse" - concern a young boy named Ambrose and members of his family. The first story is told in first person, leading up to describing how Ambrose received his name. The second is told in third-person, written in a deliberately archaic style. The third is the most metafictional of the three, with a narrator commenting on the story's form and literary devices as it progresses.
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Breakin' It Up On the Beatles Tour is an LP album by Jackie DeShannon, released by Liberty Records under catalog number LRP-3390 as a monophonic recording in 1964, and later in stereo under catalog number LST-7390 the same year. Contrary to what the title says, this LP was not recorded during a Beatles tour. DeShannon was an opening act on their 1964 North American tour, but the LP is collection of a dozen tracks that had already been released on Liberty singles between 1962 and 1964.
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The music of Albania () is associated with the country of Albania and Albanian communities. Music has a long tradition in the country and is known for its regional diversity, from the Ghegs in the North to the Tosks in the South. It is an integral part of the national identity, strongly influenced by the country's long and turbulent history, which forced Albanians to protect their culture from their overlords by living in rural and remote mountains. Diverse Albanian folk music includes monophonic and polyphonic styles, responses, choral, instrumental and vocal music.
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In the years since his death, Motown has issued "You're the Man" on several compilations. For decades, the original monophonic single and the 1974 Marvin Gaye Anthology were the only available versions. Some compilations, such as 1995's The Best of Marvin Gaye and 2001's The Very Best of Marvin Gaye include a version of this, sourced from the original 45 but with the two parts edited back together to create a single 5:47 track. The 2001 Deluxe Edition of Let's Get It On included two further contemporaneous versions.
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Fancy Dancer at the Seafair Indian Days Pow-Wow, Daybreak Star Cultural Center, Seattle, Washington Jake Fragua, Jemez Pueblo from New Mexico Traditional Native American music is almost entirely monophonic, but there are notable exceptions. Native American music often includes drumming or the playing of rattles or other percussion instruments but little other instrumentation. Flutes and whistles made of wood, cane, or bone are also played, generally by individuals, but in former times also by large ensembles (as noted by Spanish conquistador de Soto). The tuning of modern flutes is typically pentatonic.
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Retrieved on 2013-04-22. Music tracker software was popular on the ST, such as the TCB Tracker, aiding the production of quality music from the Yamaha synthesizer ('chiptunes'). An innovative music composition program that combines the sample playing abilities of a tracker with conventional music notation (which was usually only found in MIDI software) is called Quartet (after its four- note polyphonic tracker, which displays one monophonic stave at a time on color screens). Due to the ST having comparatively large amounts of memory for the time, sound sampling packages became a realistic proposition.
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Melodies of differing types and styles have been created by the people in various spheres and stages of life, joyful or sad, from birth to death. Ashiks (Turkish Minstrels), accompanying themselves on the saz, played the most important role in the development and spread of Turkish folk music. Musicias did not use accompaniment with saz, because Turkish Traditional Music was monophonic. Musicians played the same melody of a song but, when musicians hit the middle and upper strings(These strings must be played without touching keyboard of saz) polyphony was used.
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Its more distinctive features include the voice memo recorder, the mute feature for conversations, the ability to record phone conversations, and the ringtone composer (a useful alternative for those unsatisfied with the 47 monophonic ringtones). Another notable fact about this phone is its very low SAR (specific absorption rate) of 0.33, making it #10 on the CNET's list of ten lowest-radiation cell phones as of 2005. Also it was one of the first phone with HSCSD. The phone also supports WAP 1.1, SMS, HSCSD, and T9 predictive text input.
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WVVS-FM (90.9 FM) is a radio station broadcasting a college radio format, and licensed to serve Valdosta, Georgia, United States. The station is owned and operated by the students of Valdosta State University, though unlike other college radio stations in the state, the "Board of the University System of Ga" is listed on the broadcast license, with VSU listed second. It is known as Blaze FM, but was previously V91 until the summer of 2007. The station started broadcasting on 26 July 1971 with a small number of watts and in monophonic only.
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Early rondeaux are usually found as interpolations in longer narrative poems, and separate monophonic musical settings survive. After the 15th century, the musical form went out of fashion and the rondeau became a purely literary form. The musical rondeau is typically a two-part composition, with all the "A" sections of the poem's AB-aAab-AB structure set to one line of music, and all the "B" parts to another. Although far rarer than the French usage, the Italian equivalent, the rondello was occasionally composed and listed among the Italian forms of poetry for music.
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417 Listen to it interpreted. During the Medieval Music era (476 to 1400) the plainchant tunes used by monks for religious songs were primarily monophonic (a single melody line, with no harmony parts) and transmitted by oral tradition ("by ear"). The earliest Medieval music did not have any kind of notational system for writing down melodies. As Rome tried to centralize the various chants across vast distances of its empire, which stretched from Europe to North Africa, a form of music notation was needed to write down the melodies.
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Following the end of the Byzantine period, klephtic music arose before the Greek Revolution, developed among the kleftes, warriors who fought against the Ottoman Empire. Klephtic music is monophonic and uses no harmonic accompaniment. Dhimotika tragoudhia are accompanied by clarinets, tambourines, laouto, violins and lyras, and include dance music like syrtó, kalamatianó, tsámiko and hasaposérviko, as well as vocal music like kléftiko. The lyrics are based on Demotiki (folk) poetry (usually by anonymous lyricist) and popular themes are love, marriage, humor, death, nature, water, sea, religious, about klephts, armatoloi, various war fighters or battles etc.
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The Moog Theremini is a monophonic digital synthesizer manufactured by Moog Music and is a re-working on one of the oldest electronic instruments in history, the Theremin, created by Léon Theremin in 1929 and made popular as a source of atmospheric sound tracks for science fiction films. Similar to the Theremin, the Theremini does not require physical contact to play it. Rather, the device gauges the proximity of the performer's hands to determine the parameters of a performed note. The left hand controls the amplitude (volume), and the right hand controls the frequency (pitch).
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The tune of the song survived in monophonic and in polyphonic sources, but the text of the secular song is only known through textual sources. Tandernaken was an international hit in the period between about 1430 and the 1540s as settings, preserved in Dutch, Italian, German and English sources, are listed by Franco-Flemish (or Dutch), German and English composers such as Jacob Obrecht, Antoine Brumel, King Henry VIII, Alexander Agricola, Paul Hofhaimer, Petrus Alamire, Ludwig Senfl and Erasmus Lapicida.Jan Willem Bonda, De meerstemmige Nederlandse liederen van de vijftiende en zestiende eeuw. Hilversum, Verloren, 1996.
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1139, 3549, 3719, and GB-Lbl Add MS 36881) were, it would seem, more likely collected and bound together by the librarian Bernard Itier, than composed or compiled at St Martial itself.Already Marion Gushee (1964) emphasized the fragmentary nature of these sources. They employ a "libellum" structure, often bound together from individual quaternio gatherings of different ages (F-Pn lat. 1139), unlike other sources during this period where polyphonic pieces are most often found added, by a later hand, at the end of quaternios of older monophonic manuscripts.
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Although "Trent Codices" usually refers to these seven manuscripts alone, they are not the only testaments to active interest in late-Medieval and Renaissance music in Trent. At the back of a monophonic breviary (Biblioteca Comunale 1563, but permanently housed at the Museo Provinciale d'Arte) is a single folio, presumably from a much larger manuscript ca. 1400, containing a Credo by Antonio dictus Zachara da Teramo.Bent, 175 Prayers dedicated to local saints were added to the manuscript sometime in the fifteenth century, establishing that the manuscript has been in Trent since at least the fifteenth century.
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The Moog synthesizer was difficult to work with, as it is a very complex device with many knobs, and a slight movement of any knob could radically change the sound. It also tended to drift in musical pitch such that Dolph determined to tune it every 15 minutes. Finally, the Moog was monophonic, meaning that only one note could be played at a time. If a chord was fingered on the Moog's keyboard, only the lowest note would sound; chords heard on the album were built up over several takes, or they were synthesized on a chordal device called the "protorooter".
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The lyrics of "Six String Orchestra" are narrated by, and describe, a young man who buys a guitar, which he christens his "monophonic symphony six-string orchestra." He practices late in his room and is not disturbed, his mother saying he is "nothing yet to make the folks write home." As the narrator tries to realize his aspirations of being a singer, his lack of talent becomes evident. He performs at talent nights to what amounts to polite applause, but is screamed off the stages when he tries to perform encores, and dreams about a group helping him out.
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As the synthesizers were monophonic, meaning only one note can be played at a time, each track was assembled one at a time. Carlos said: "You had to release the note before you could make the next note start, which meant you had to play with a detached feeling on the keyboard, which was really very disturbing in making music." The synthesizer was unreliable and often went out of tune; Carlos recalled hitting it with a hammer prior to recording to obtain correct levels. After several notes were played, it was checked again to make sure it had not drifted.
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In 1960, Billboard began concurrently publishing album charts which ranked sales of older or mid-priced titles. These Essential Inventory charts were divided by stereo and mono albums, and featured titles that had already appeared on the main stereo and mono album charts. Mono albums were moved to the Essential Inventory—Mono chart (25 positions) after spending 40 weeks on the Mono Action Chart, and stereo albums were moved to the Essential Inventory—Stereo chart (20 positions) after 20 weeks on the Stereo Action Chart. In January 1961, the Action Charts became Action Albums—Monophonic (24 positions), and Action Albums—Stereophonic (15 positions).
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DK1 keyboard controller (front) connected to VCS 3 (rear) Although the VCS 3 is often used for generating sound effects due to lack of a built-in keyboard, external keyboard controllers were available for melodic play. The DK1, produced in 1969, is an early velocity-sensitive monophonic keyboard for VCS 3 with an extra VCO and VCA. In 1972 it was extended for duophonic play as DK2. Also in 1972, the Synthi AKS was released, as well as a digital sequencer with a touch-sensitive flat keyboard, the KS sequencer, and its mechanical keyboard version, DKS.
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The hardware unit features indicator lights based on the last 3 digits in binary of the MIDI note number, a knob that serves as a pitch wheel, the ability to plug in an expression pedal (controlling parameters of vibrato, wah, etc.,) and an 8-bit 11 kHz sine wave to allow the instrument to be used in a standalone mode without the need for an external sound source to be triggered. Though it lends itself easily to monophonic playing, the samchillian is also capable of playing chords, and players such as Rodney Clarke use it to trigger pads and samples.
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Interview with Grigore Leşe The doina is a free-rhythm, highly ornamented (usually melismatic), improvisational tune.Peter van der Merwe - Origins of the Popular Style The improvisation is done on a more or less fixed pattern (usually a descending one), by stretching the notes in a rubato-like manner, according to the performer's mood and imagination. Usually the prolonged notes are the fourth or fifth above the floor note. The peasant doinas are mostly vocal and monophonic and are sung with some vocal peculiarities that vary from place to place: interjections (măi, hei, dui-dui, iuhu), glottal clucking sounds, choked sobbing effects, etc.
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Mono was the playback medium for most record players, car radios, and transistor radios during the 1960s. Stereo playback systems had been available since the late 1950s, but the equipment and the albums mixed to play on them were expensive, and the music industry continued to manufacture mono albums and singles through the decade. Monophonic as a format would not be discontinued in both the United States and the United Kingdom until approximately 1969. As stated in the liner notes by Marcus, Moreover, the mixing of the album in mono was the chief priority of Dylan and his producers.
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The two verses of each couplet are sung to the same musical line, usually ending on a tonally stabilizing pitch, with variety being created by couplets of different lengths and with different musical arches. Although sequences are vocal and monophonic, certain sequence texts suggest possible vocal harmonization in organum or instrumental accompaniment. The composition of sequences became less frequent when Humanist Latin replaced medieval Latin as the preferred literary style in Latin. New sequences continued to be written in Latin; one of the best known later sequences is the Christmas carol Adeste Fideles, known in English as "O Come, All Ye Faithful".
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The Lai de notre-dame (incipit: En entente curieuse) is ascribed to him in the manuscript, but the Lai de l'ancien et du nouveau testament (incipit: S'onques hom en lui s'asist) is presented anonymously and was only assigned to Ernoul by Alfred Jeanroy. David Fallows describes his two lais as "among the most unusual in the entire monophonic repertory, astonishingly long with complex repetition schemes and elaborate motivic structure." Five pastourelles have also been attributed to Ernoul, and all are preserved only in the Chansonnier du Roi (BnF fr.844). The attribution of only one, En avril, au tens novel, is highly disputed.
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The Music for the Requiem Mass is any music that accompanies the Requiem, a Mass in the Catholic Church for the deceased. It has inspired a large number of compositions, including settings by Mozart, Berlioz, Verdi, Bruckner, Dvořák, Fauré and Duruflé. Originally, such compositions were meant to be performed in liturgical service, with monophonic chant. Eventually the dramatic character of the text began to appeal to composers to an extent that they made the requiem a genre of its own, and the compositions of composers such as Verdi are essentially concert pieces rather than liturgical works.
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The grand chant (courtois) or, in modern French, (grande) chanson courtoise or chanson d'amour, was a genre of Old French lyric poetry devised by the trouvères. It was adopted from the Occitan canso of the troubadours, but scholars stress that it was a distinct genre. The predominant theme of the grand chant was courtly love, but topics were more broad than in the canso, especially after the thirteenth century. The monophonic grand chant of the High Middle Ages (12th-13th centuries) was in many respects the predecessor of the polyphonic chanson of the Late Middle Ages (14th-15th centuries).
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Although in music instruction certain styles or repertoires of music are often identified with one of these descriptions this is basically added music (for example, Gregorian chant is described as monophonic, Bach Chorales are described as homophonic and fugues as polyphonic), many composers use more than one type of texture in the same piece of music. A simultaneity is more than one complete musical texture occurring at the same time, rather than in succession. A more recent type of texture first used by György Ligeti is micropolyphony. Other textures include polythematic, polyrhythmic, onomatopoeic, compound, and mixed or composite textures .
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As the technology improved, polyphonic and often orchestral soundtracks replaced simple monophonic melodies starting in the late 1980s and the soundtracks to popular games such as the Dragon Quest and Final Fantasy series began to be released separately. In addition to compositions written specifically for video games, the advent of CD technology allowed developers to incorporate licensed songs into their soundtrack (the Grand Theft Auto series is a good example of this). Furthermore, when Microsoft released the Xbox in 2001, it featured an option allowing users to customize the soundtrack for certain games by ripping a CD to the hard-drive.
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Two monophonic radios could be tuned, one above the carrier and one below to produce stereo reception. The system was very stable and worked no matter how poor the received signal was as opposed to the Motorola system which needed a very strong signal to work properly. The Kahn system was adopted by many of the high power stations due to its superiority but the ability for Motorola to manufacture chips that would only decode their system made the Motorola system the default which ultimately failed. Later, the Kahn stereo systems were used as what Leonard called the "Power Side".
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The Moog Source is a monophonic Z80 microprocessor-controlled analog synthesizer manufactured by Moog Music from 1981 to 1985. The Source was Moog's first synthesizer to offer patch memory storage. The design was also the first (and only) Moog synthesizer to feature a flat-panel membrane keyboard to replace the standard buttons, knobs and sliders, along with multihued panel graphics that were very different from anything Moog offered at the time. Sound wise it is considered to sound more like the original Moog Minimoog than any other synthesizer made by Moog and was introduced as its replacement.
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Many early reissues on the RCA Victrola label included recordings from the historic RCA Victor "Living Stereo" series first released in 1958, using triple channel stereophonic tapes recorded as early as 1954. There were also some first stereo issues of recordings that had previously been available only in monophonic versions. For several years, Victrola released both stereo and mono versions of many albums, many of them in "reprocessed" (fake) stereo.RCA Victrola liner notes From the liner notes of several RCA Victrola releases from the early 1960s: A similar statement had previously appeared on several releases from the budget RCA Camden label.
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The Schola Gregoriana Pragensis is an award winning choir from the Czech republic with primary focus on Gregorian chant and Bohemian plainchant. The choir formed in 1987 under the direction of David Eben and was restricted in its repertoire to only liturgical music for the first two years. Since the Velvet Revolution of 1989, the choir has extended its repertoire to include a variety of sacred music, with particular focus on Gregorian chant (monophonic Latin liturgical music) and early polyphony. The choir has won several awards, including the Choc du monde de le musique, 10 de Repertoire and Golden Harmony (Zlatá Harmonie).
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Though the JX-8P is relatively complex, it may appear otherwise for its lack of traditional synthesizer controls. It features two DCOs per voice, two software-generated (and relatively soft) ADSR envelopes, high- and low-pass filters, two types of (fixed-rate) chorus effect, three different sync modes, etc. Additionally, it offers two "polyphonic" play modes, two "unison", and two "solo" modes, one of which stacks all its oscillators into a single monophonic sound. Further, the synth's MIDI specification is surprisingly polished for an instrument of this vintage (unlike most earlier Roland synths, and even its direct successor, JX-10).
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The paraphrase technique differs from the cantus-firmus technique in that the source material, though it still consists of a monophonic original, is embellished, often with ornaments. As in the cantus-firmus technique, the source tune may appear in many voices of the mass. Several of Josquin's masses feature the paraphrase technique, and they include some of his most famous work including the great Missa Gaudeamus. The relatively early Missa Ave maris stella, which probably dates from his years in the Sistine Chapel choir, paraphrases the Marian antiphon of the same name; it is also one of his shortest masses.
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At the premiere of Pierre Schaeffer's Symphonie pour un homme seul in 1951, a system that was designed for the spatial control of sound was tested. It was called a "relief desk" (pupitre de relief, but also referred to as pupitre d'espace or potentiomètre d'espace) and was intended to control the dynamic level of music played from several shellac players. This created a stereophonic effect by controlling the positioning of a monophonic sound source . One of five tracks, provided by a purpose-built tape machine, was controlled by the performer and the other four tracks each supplied a single loudspeaker.
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The SH-101 is monophonic, meaning it can only play one note at a time. It has a single oscillator and a sub-oscillator, a low-pass filter, a mixer allowing users to blend different waveforms plus a noise generator, and an arpeggiator and sequencer. An ADSR envelope generator controls the filter and VCA, and the filter, VCA, pitch and pulse width can be controlled with an LFO. Users can attach an optional handgrip with modulation controls and shoulder strap to play the SH-101 as a keytar, and it could also be powered via battery.
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The Prophet-5, one of the first polyphonic synthesizers. It was widely used in 1980s synth-pop, along with the Roland Jupiter and Yamaha DX7. Synth-pop was defined by its primary use of synthesizers, drum machines and sequencers, sometimes using them to replace all other instruments. Borthwick and Moy have described the genre as diverse but "...characterised by a broad set of values that eschewed rock playing styles, rhythms and structures", which were replaced by "synthetic textures" and "robotic rigidity", often defined by the limitations of the new technology, including monophonic synthesizers (only able to play one note at a time).
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As a keyboard player, his favourite instrument is the Hammond organ, the piano and vintage keyboards like the Wurlitzer- piano, accordion and the monophonic Moog synthesizer. As a guitar player, Doernberg fell in love with the slide guitar and all her relatives like lap and pedal steel, dobro and the Hawaiian guitar. Rough Silk have recorded 8 albums (the last one, A new beginning, was released in April 2009), and toured a lot (as headliner and supporting for example Helloween, Deep Purple, Savatage, Saxon, Accept, Whitesnake and Dio) all over Europe. Since 2007, Doernberg is also the lead-vocalist of the band.
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The development of polyphonic forms, with different voices interweaving, is often associated with the late Medieval Ars nova style which flourished in the 1300s. The Ars Nova, which means "new art" was an innovative style of writing music that served as a key transition from the medieval music style to the more expressive styles of the post-1400s Renaissance music era. The earliest innovations upon monophonic plainchant were heterophonic. "Heterophony" is the performance of the same melody by two different performers at the same time, in which each performer slightly alters the ornaments she or he is using.
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"Baby, You're a Rich Man" is a song by the English rock band the Beatles that was released as the B-side of their "All You Need Is Love" single in July 1967. It originated from an unfinished song by John Lennon, titled "One of the Beautiful People", to which Paul McCartney added a chorus. It is one of the best-known pop songs to make use of a clavioline, a monophonic keyboard instrument that was a forerunner to the synthesizer. Lennon played the clavioline on its oboe setting, creating a sound that suggests an Indian shehnai.
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As a composer, Barraud wrote opera music, ballet music, orchestral music, chamber music, choral music and other vocal music. Paul Paray and the Detroit Symphony Orchestra recorded Barraud's orchestral work Offrande à une ombre in 1957 for Mercury Records. This wartime memorial, commemorating the death during combat of Maurice Jaubert at the age of 40, was initially released on LP in monophonic sound; the stereophonic version was issued on CD by Philips Records. A work listed as Symphony #1 for full orchestra (not just strings) was recorded on French Columbia FCX 597 (LP) performed by Georges Tzipine leading the ORTF.
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As a composer, Terzakis' music began with an expanded tonality (Prelude (1961) and Legend (1964)) moving to 12-note serialism (e.g. the Sinfonietta (1965)) and then to a fruitful exploration of micro-intervals and glissandi, principally in his melody, based on Byzantine music. In recent years, Terzakis's view of Western harmony, polyphony and the tempered system as constituting only an extended episode in the evolution of music has increasingly led him to an essentially monophonic output. In this he has drawn example from Greek traditional music, as well as from other parts of the Mediterranean and the Near East.
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Like all Indian classical music, dhrupad is modal and monophonic, with a single melodic line and no chord progression. Each raga has a modal frame - a wealth of micro-tonal ornamentations (gamak) are typical. The text is preceded by a wholly improvised section, the alap. The alap in dhrupad is sung using a set of syllables, popularly thought to be derived from a mantra, in a recurrent, set pattern: a re ne na, té te re ne na, ri re re ne na, te ne toom ne (this last group is used in the end of a long phrase).
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Julie London is an LP album by Julie London, released by Liberty Records under catalog number LRP-3342 as a monophonic recording and catalog number LST-7342 in stereo in 1964. It was arranged by Ernie Freeman; with Dave Hassinger as the engineer. This Julie London album is commonly mistaken to be entitled as "You Don't Have to Be a Baby to Cry", due to mistitling on the album jacket's spine. This error had already happened previously with her 1963 album, The End of the World, when it was mistitled as "The Good Life" on the album jacket's spine.
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Retrieved 6 October 2008 His first electric instrument was a Hammond B3 organ, while first synthesizer a Korg 700 monophonic. He has often used vibrato on his synthesizers, which was carried out in a distinctive way on his Yamaha CS-80 polyphonic synthesizer – varying the pressure exerted on the key to produce the expressive vibrato sound. In a 1984 interview Vangelis described the CS-80 as "The most important synthesizer in my career — and for me the best analogue synthesizer design there has ever been." In an interview with Soundtrack, a music and film website, Vangelis talked about his compositional processes.
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The Moog Liberation was one of the first commercially produced "keytar" synthesizers, released in 1980 by Moog Music. The instrument is comparable to the Moog Concertmate MG-1 and the Moog Rogue, but it is most closely related to the Moog Prodigy; however, as a keytar, the Liberation was designed to be played in the same posture as one would play a guitar. The Liberation features two monophonic voltage-controlled oscillators and a polyphonic section that can play organ sounds. Both oscillators can be set to triangle, sawtooth, or square waveforms and switched over a 3-octave range.
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Pioneering the use of the monophonic synthesizers like the ARP 2600 and Minimoog, Hammond Novachord, Hammond C3 organ, and the Mellotron, Paolo Rustichelli composed and produced various movie soundtracks and a progressive rock album, Opera Prima (RCA 1973). Among many scores, made completely with synths, are included Top Box Office European movies like Amici Miei atto III and Testa o Croce. His jazz-rock album Mystic Man (1996) featured Miles Davis, Carlos Santana, Herbie Hancock, Wayne Shorter, Andy Summers, and Jill Jones. The song "Paisa" reached the Top Ten on the Radio & Records Smooth Jazz/NAC charts.
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Domestic stereo system, having two speakers. The progress of stereophonic sound was paced by the technical difficulties of recording and reproducing two or more channels in synchronization with one another, and by the economic and marketing issues of introducing new audio media and equipment. A stereo system cost up to twice as much as a monophonic system, since a stereo system contains two preamplifiers, two amplifiers, and two speaker systems. In addition, the user would need an FM stereo tuner, to upgrade any tape recorder to a stereo model, and to have their phonograph fitted with a stereo cartridge.
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In the early Middle Ages, ecclesiastical music was dominated by monophonic plainchant.R. McKitterick, C. T. Allmand, T. Reuter, D. Abulafia, P. Fouracre, J. Simon, C. Riley-Smith, M. Jones, eds, The New Cambridge Medieval History: C. 1415- C. 1500 (Cambridge: Cambridge University Press, 1995), pp. 319–25. The development of British Christianity, separate from the direct influence of Rome until the eighth century, with its flourishing monastic culture, led to the development of a distinct form of liturgical Celtic chant.D. O. Croinin, ed., Prehistoric and Early Ireland: Prehistoric and Early Ireland, vol I (Oxford: Oxford University Press, 2005), p. 798.
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Gone with the Wind is a jazz album released by The Dave Brubeck Quartet in 1959 on Columbia CL 1347 (monophonic) and CS 8156 (Stereo). The origin of the album came out of the Quartet's desire to create an album of original music using unusual meters they discovered abroad such as in traditional Turkish folk music, which eventually became Time Out. However, the label executives insisted that the band first create a more conventional album to cover the risk of their preferred concept. The album was recorded in Los Angeles, California on April 22 and 23, 1959.
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Avant-garde composer and theater director J. A. Seazer composed the song , which is repeated every time Utena ascends to the dueling arena, and the choral rock pieces played during the duels. Ikuhara has said that, despite objections to the dueling choruses on the part of his BePapas collaborators and sponsors, Seazer's music "sealed the fate of the project" and was well received. The texture of the chorus is primarily monophonic, although there is some homophony within the inner voices of the chorus. The melody of the chorus is written in transposed Aeolian mode or natural minor.
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Late in life he suffered from depression. According to Campanella, writing in Lyon in 1635, Gesualdo had himself beaten daily by his servants, keeping a special servant whose duty it was to beat him "at stool", and he engaged in a relentless, and fruitless, correspondence with Cardinal Federico Borromeo to obtain relics, i.e., skeletal remains, of recently canonized uncle Carlo Borromeo, with which he hoped to obtain healing for his mental disorder and possibly absolution for his crimes. Gesualdo's late setting of Psalm 51, the Miserere, is distinguished by its insistent and imploring musical repetitions, alternating lines of monophonic chant with pungently chromatic polyphony in a low vocal tessitura.
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Chowning felt their engineers, who were used to analog synthesis, did not understand FM. At the time, the Japanese company Yamaha was the world's largest manufacturer of musical instruments but had little market share in the United States. One of their chief engineers visited Stanford and, according to Chowning, "in ten minutes he understood ... I guess Yamaha had already been working in the digital domain, so he knew exactly what I was saying." Yamaha licensed the technology for one year to determine its commercial viability, and in 1973 its organ division began developing a prototype FM monophonic synthesizer. In 1975, Yamaha negotiated exclusive rights for the technology.
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The End of the World is an LP album by Julie London, released by Liberty Records under catalog number LRP-3300 as a monophonic recording and catalog number LST-7300 in stereo in June 1963. This was Julie London's second-to-the- last charting album, reaching #127 on the Billboard charts. This Julie London album is commonly mistaken to be entitled "The Good Life", due to mistitling on the album jacket's spine. This error happened again on her 1964 self-titled album "Julie London", when it was mistitled as "You Don't Have to Be a Baby to Cry/Wives and Lovers" on the album jacket's spine.
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An illustration from the E codex of the Cantigas de Santa Maria. The Cantigas de Santa Maria (, ; "Canticles of Holy Mary") are 420 poems with musical notation, written in the medieval Galician-Portuguese language during the reign of Alfonso X of Castile El Sabio (1221–1284) and often attributed to him. It is one of the largest collections of monophonic (solo) songs from the Middle Ages and is characterized by the mention of the Virgin Mary in every song, while every tenth song is a hymn. The Cantigas have survived in four manuscript codices: two at El Escorial, one at Madrid's National Library, and one in Florence, Italy.
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Unlike other capacitor microphones, they require no polarizing voltage, but often contain an integrated preamplifier that does require power (often incorrectly called polarizing power or bias). This preamplifier is frequently phantom powered in sound reinforcement and studio applications. Monophonic microphones designed for personal computers (PCs), sometimes called multimedia microphones, use a 3.5 mm plug as usually used, without power, for stereo; the ring, instead of carrying the signal for a second channel, carries power via a resistor from (normally) a 5 V supply in the computer. Stereophonic microphones use the same connector; there is no obvious way to determine which standard is used by equipment and microphones.
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Compact Cassettes contain two miniature spools, between which the magnetically coated, polyester-type plastic film (magnetic tape) is passed and wound. These spools and their attendant parts are held inside a protective plastic shell which is at its largest dimensions. The tape itself is commonly referred to as "eighth- inch" tape, supposedly wide, but it is slightly larger: . Two stereo pairs of tracks (four total) or two monaural audio tracks are available on the tape; one stereo pair or one monophonic track is played or recorded when the tape is moving in one direction and the second (pair) when moving in the other direction.
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This is similar to other Microsoft BASICs of the time and includes good support for the hardware features of the machine: pixel addressing of the display, support for the internal modem and serial port, monophonic sound, access to tape and RAM files, support for the real-time clock and the bar code reader, and I/O redirection between the machine's various logical devices. Like previous Microsoft BASIC interpreters, variable names were restricted to two characters and all program lines and subroutines were numbered and not named. However, the default for floating point numbers is double-precision. This was reportedly the last application software with code written by Bill Gates.
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If the needle touched the speaker was discarded. In the next years Cizek Audio System produced another interesting system composed by 2 standard speakers systems with one (stereo) or two (monophonic) additional subwoofers (respectively the Cizek Model 3 + MG27 system and the Classic 20 system, composed of two satellites (KA1) plus one subwoofer (KA20); These two systems were considered between the better HIFI speaker system in the world in the reviews of the italian magazines Suono and Stereoplay. The MG 27 sub-woofer system together with 2 Quad electrostatic speakers is considered a milestone and used for comparison of modern speakers at the magazine Stereophile.
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House of Wax was one of the big hits of 1953, topping the charts for 5 weeks and earning an estimated $5.5 million in rentals from the North American box office alone. To accompany its stereoscopic imagery, House of Wax was originally available with a stereophonic three-track magnetic soundtrack, although many theaters were not equipped to make use of it and defaulted to the standard monophonic optical soundtrack. Previously, films with stereo sound only were produced to be shown in specialty cinemas, such as the Toldi in Budapest and the Telecinema in London.Eddie Sammons, The World of 3-D Movies, Delphi, 1992 p 32R.
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The original PAC developed by James Johnston and Anibal Ferreira at AT&T;'s Bell Labs has a flexible format and bitrate. It provides efficient compression of high-quality audio over a variety of formats from 16 kbit/s for a monophonic channel to 1024 kbit/s for a 5.1 format with four or six auxiliary audio channels, and provisions for an ancillary (fixed rate) and auxiliary (variable rate) side data channel. For stereo audio signals, it is claimed that it provides near-CD quality at about 56-64 kbit/s, with transparent coding at bit rates approaching 128 kbit/s. Over the years PAC has evolved considerably.
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Beneventan chant is largely defined by its role in the liturgy of the Beneventan rite, which is more closely related to the liturgy of the Ambrosian rite than the Roman rite. The Beneventan rite has not survived in its complete form, although most of the principal feasts and several feasts of local significance are extant. The Beneventan rite appears to have been less complete, less systematic, and more liturgically flexible than the Roman rite; many Beneventan chants were assigned multiple roles when inserted into Gregorian chantbooks, appearing variously as antiphons, offertories, and communions, for example. Like all plainchant, Beneventan chant is monophonic and a cappella.
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Stereo or stereophonic sound is the reproduction of sound using two or more independent audio channels through a symmetrical configuration of loudspeakers in such a way as to create the impression of sound heard from various directions, as in natural hearing. It is often contrasted with monophonic, or "mono" sound, where audio is in the form of one channel, often centered in the sound field (analogous to a visual field). Sound recording and reproduction is an electrical or mechanical inscription and re-creation of sound waves, such as spoken voice, singing, instrumental music, or sound effects. The two main classes of sound recording technology are analog recording and digital recording.
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The Roland SH-101 is a small, 32-key, monophonic analog synthesizer from the early 1980s. It has one oscillator with two waveforms, an 'octave-divided' sub-oscillator, and a low-pass filter/VCF capable of self oscillation. When a shoulder strap is connected to it, and the small handgrip with a pitch bend wheel and a pitch modulation trigger is used, the SH-101 becomes a keytar. Yamaha SHS-10 The Yamaha SHS-10 from the late 1980s has a small keyboard with 32 minikeys and a pitch-bend wheel, an internal Frequency modulation (usually referred to as FM) synthesizer offering 25 different voices with 6-note polyphony.
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Roland System 100 The Roland System 100 was an analog semi-modular synthesizer (having an internal fixed signal path that could be overridden by plugging patch cables into the front of the synth) manufactured by Japan's Roland Corporation, released in 1975 and manufactured until 1979. It consisted of the following products: Synthesizer 101 A monophonic synthesizer with built-in keyboard, oscillator, filter, ADSR envelope generator and attenuator. Expander 102 The same synthesizer again, without the keyboard, to be stood up behind the 101 and patched into it in order to double its features. In addition, a ring modulator and sample and hold are included.
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The Moog Sub 37 is a monophonic analog synthesizer manufactured by Moog Music from 2014. The synthesizer has an analog signal path and digital modulators. In May 2017, Moog announced its successor, the Moog Subsequent 37 CV, which featured an additional four assignable CV outputs, and two gate output in a limited edition of 2000 units. In August 2017, Moog announced the successor to the now discontinued Sub 37, the Moog Subsequent 37, which includes many of the features of the limited edition Subsequent 37 CV including a new key bed and increased headroom but does not include the four assignable CV outputs and two gate output.
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The next step was to play clips of actual songs, which were dubbed Realtones. These are preferred by record labels as this evolution of the ringtone has allowed them to gain a cut of lucurative ringtone market. In short Realtones generate royalties for record labels (the master recording owners) as well as publishers (the writers), however, when Monophonic or Polyphonic ringtones are sold only publishing or "mechanical" royalties are incurred as no master recording has been exploited."Mobile Music Royalty Explained" MocoNews, June 22nd, 2005, retrieved August 15, 2006 Some companies promote covertones, which are ringtones that are recorded by cover bands to sound like a famous song.
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Audiophile's albums were pressed by the Wakefield company in Phoenix, Arizona on transparent red vinyl, similar to the red vinyl used by RCA for many of its early microgroove releases. Its early albums were released on 78, which was thought to offer greater fidelity. Nunn is best known for his high-fidelity, monophonic 78 recordings. As recording technology improved, he produced 33 1/3 LPs and eventually stereo. In the late 1940s Audiophile released its first recording, Pop Goes the Weasel (AP 1) by Harry Blons. The Audiophile AP 1 disk side A has three tracks: "Pop Goes the Weasel", "Wolverine Blues", and "Chimes Blues".
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The Cantigas de Santa Maria ("Canticles of St. Mary") are 420 poems with musical notation, written in Galician-Portuguese during the reign of Alfonso X El Sabio (1221–1284) and often attributed to him. It is one of the largest collections of monophonic (solo) songs from the Middle Ages and is characterized by the mention of the Virgin Mary in every song, while every tenth song is a hymn. The manuscripts have survived in four codices: two at El Escorial, one at Madrid's National Library, and one in Florence, Italy. Some have colored miniatures showing pairs of musicians playing a wide variety of instruments.
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The album was released exclusively in stereo in North America, except for mono promotional-only copies, but both monophonic and stereo versions were available in the UK. In a 1999 interview, Brown explained that Lambert added brass and strings overdubs at Atlantic's request, to mask perceived deficiencies in the percussion tracks: The album was reissued on CD in 1991, including the songs from side one of the original LP in both monaural and stereo. The monaural version of side one of the album is from an unreleased alternate mix made before the brass and strings were overdubbed, not from the monaural version of the album.
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It typically features the Tibia pipe family as its foundation stops and the regular use of a tremulant possessing a depth greater than that on a classical organ. Theatre organs tend not to take nearly as much space as standard organs, relying on extension (sometimes called unification) and higher wind pressures to produce a greater variety of tone and larger volume of sound from fewer pipes. Unification gives a smaller instrument the capability of a much larger one, and works well for monophonic styles of playing (chordal, or chords with solo voice). The sound is, however, thicker and more homogeneous than a classically designed organ.
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Crook first learned to play the accordion before taking up the piano, and by the time he was fourteen he had already built his own studio. In 1957, after studying at the University of New Mexico, he enrolled at Western Michigan University in Kalamazoo. There, he formed a rock and roll group called The White Bucks, who released a single, "Get That Fly", on Dot Records in 1959.Maximilian (Max Crook) In the same year he built a monophonic synthesizer, which he called the Musitron, out of a clavioline heavily enhanced with additional resistors, television tubes, and parts from household appliances, old amplifiers, and reel-to-reel tape machines.
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At the front were two wooden instruments, used to mark the start and end of a piece. The 'outside' music in the courtyard was meant for the praise of heaven, and the size and disposition of the orchestra varied with the importance of the occasion, while the 'inside' music was used to extol the virtue of the emperors and their ancestors. A dance performed at the Jongmyo jerye in the Confucian Jongmyo temple in Korea The music is typically slow and stately, and monophonic with little rhythmic variety. When sung, there may be four to eight beats per phrase depending on the number of words in the text.
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The latest version of IRCAM's score following, developed by the Musical Representations Team is capable of following complex audio signals (monophonic and polyphonic) and synchronize events via the detected tempo of the performance in realtime. It's distributed publicly since 2009 under the name Antescofo and has been successfully performed throughout the world for a wide number of contemporary music productions including realtime electronics. Other score following authors include Chris Raphael, Roger Dannenberg, Barry Vercoe, Miller Puckette, Nicola Orio, Arshia Cont, and Frank Weinstock (; ; ). For the first time, in October 2006, there is going to be a Score Following evaluation during the second Music Information Retrieval Evaluation eXchange (MIREX).
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The Introit Gaudeamus omnes, scripted in square notation in the 14th–15th century Graduale Aboense, honors Henry, patron saint of Finland Gregorian chant is the central tradition of Western plainchant, a form of monophonic, unaccompanied sacred song in Latin (and occasionally Greek) of the Roman Catholic Church. Gregorian chant developed mainly in western and central Europe during the 9th and 10th centuries, with later additions and redactions. Although popular legend credits Pope Gregory I with inventing Gregorian chant, scholars believe that it arose from a later Carolingian synthesis of Roman chant and Gallican chant. Gregorian chants were organized initially into four, then eight, and finally 12 modes.
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The Piano Sonata No. 2 draws an allusion to the Prelude from Bach's Cello Suite No. 6 in D major, BWV 1012. A frequently repeated motif of Bach's Prelude is noticeably similar to the main theme of the first movement of Chopin's sonata; in addition, similarly to the Finale of Chopin's sonata, the Prelude is a perpetuum mobile with four groups of quaver triplets per bar.Leikin (1994), pp. 191-192 In addition, in the Finale, Chopin borrowed from Bach the craft of achieving polyphony through a monophonic line by the means of arpeggiated figures: in some respects, he even went further than Bach in this regard.
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Whereas an electronic piano's sustain pedal is a momentary, non- latching switch depressed to provide sustain, and then released to end the sustained note, a bass pedal unit's electronic sustain is a latching switch, which, when clicked on automatically sustains all notes for a fixed, short period after the pedal is released. The benefit of the bass pedal's sustain button is that it facilitates legato, sostenuto basslines in slow ballads. Some units with sustain also had a rolling dial to enable the setting of the automatic sustain length. A 1970s-era bass pedal is typically monophonic, which meant that it could only play one note at a time.
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The replacement of the relatively fragile thermionic valve (vacuum tube) by the smaller, lighter-weight, cooler-running, less expensive, more robust, and less power-hungry transistor also accelerated the sale of consumer high-fidelity "hi-fi" sound systems from the 1960s onward. In the 1950s, most record players were monophonic and had relatively low sound quality. Few consumers could afford high-quality stereophonic sound systems. In the 1960s, American manufacturers introduced a new generation of "modular" hi-fi components — separate turntables, pre-amplifiers, amplifiers, both combined as integrated amplifiers, tape recorders, and other ancillary equipment like the graphic equaliser, which could be connected together to create a complete home sound system.
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The MiniBrute reintroduced the analog monophonic format for newly produced synthesizers. Although its release posed a risk for Arturia in an uncertain market, the units sold well due to their low price point and relatively high quality. Prior to the release of the MiniBrute, analog synthesizers tended to retail for or more; the MiniBrute entered the market at around , making it more accessible to new users. Nick Batt of Sonic State called the MiniBrute "one of the first of this...new breed of nouveau analog", citing the Korg MS-20 Mini, Korg Volca series, and Novation Bass Station II as others following the trend.
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As the user progresses, more controls are added in each topic. A total of 39 quizzes are included in-between lessons. Once the user finishes all the lessons, he/she will have programmed 706 patches. Syntorial uses controls and features that are the most common in many synthesizers, including subtractive synthesis, three oscillators, saw, pulse, triangle and sine waves, an FM parameter, noise oscillator, oscillator sync, band-pass filter with resonance and key tracking, ADSR envelopes, an AD modulation envelope, LFO, monophonic and polyphonic voice modes, portamento, unison with voice, detune and spread controls, ring modulation, distortion, chorus, phaser, delay, reverb, mod wheel, pitch wheel and velocity.
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13th-century composer, theorist, and scholar, Petrus de Cruce was apparently born in or near Amiens, in north- central France; for dates we know only that he was active in the years around 1290. He held the title of magistar, indicating that he probably studied at the University of Paris. Given the overlap of their lives and supposed tenures at Paris, Petrus may have been Franco of Cologne's student. It is recorded that in 1298 he composed a monophonic office for the royal palace chapel at Paris, and that in 1301–2, he resided at the court of the Bishop of Amiens, undoubtedly as a member of his clerical staff, and most likely his chapel staff as well.
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La Rue also was one of the first to use the parody technique thoroughly, permeating the texture of a mass with music drawn from all voices of a pre-existing source. Some of his masses use cantus firmus technique, but rarely strictly; he often preferred the paraphrase technique, in which the monophonic source material is embellished and migrates between voices. La Rue wrote one of the earliest polyphonic Requiem Masses to survive, and it is one of his most famous works. Unlike later Requiems, it includes polyphonic settings only of the Introit, Kyrie, Tract, Offertory, Sanctus, Agnus, and Communion – the Dies Iræ, often the center of gravity in more recent Requiems, was a later addition.
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Later, around 530, St. Benedict would arrange the weekly order of monastic psalmody in his Rule. Later, in the 6th century, Venantius Fortunatus created some of Christianity's most enduring hymns, including "Vexilla regis prodeunt" which would later become the most popular hymn of the Crusades. The Guidonian Hand The earliest extant music in the West is plainsong, a kind of monophonic, unaccompanied, early Christian singing performed by Roman Catholic monks, which was largely developed roughly between the 7th and 12th centuries. Although Gregorian chant has its roots in Roman chant and is popularly associated with Rome, it is not indigenous to Italy, nor was it the earliest nor the only Western plainchant tradition.
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In audio mastering and sound recording and reproduction a major task of the recording studio`s audio engineers and record producers is to make musical instruments sound huge. The increase of apparent source width is as important as spectral balancing and dynamic range compression. This is can be achieved with established recording techniques, like A-B technique, Blumlein technique, M-S technique, ORTF stereo technique, X-Y technique, or by experimenting with different types of microphones and microphone locations, like dynamic microphones, ribbon microphones, contact microphones, boundary microphones and loudspeakers as microphones. Signals that sound too narrow — like too coherent stereo recordings monophonic recordings or synthetic sounds — can be widened by so- called pseudostereophony.
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The pipe organ in St John the Evangelist Scottish Episcopal Church, Princes Street, Edinburgh Church music in Scotland includes all musical composition and performance of music in the context of Christian worship in Scotland, from the beginnings of Christianisation in the fifth century, to the present day. The sources for Scottish Medieval music are extremely limited due to factors including a turbulent political history, the destructive practices of the Scottish Reformation, the climate and the relatively late arrival of music printing. In the early Middle Ages, ecclesiastical music was dominated by monophonic plainchant, which led to the development of a distinct form of liturgical Celtic chant. It was superseded from the eleventh century by more complex Gregorian chant.
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Doris Day's Sentimental Journey is studio album by American singer Doris Day, released by Columbia Records on July 12, 1965 as a monophonic LP (catalog number CL-2360) and a stereophonic album (catalog number CS-9160). This was Day's final album for Columbia, and her last album of previously unissued material until 1994. The album gets its title from Doris Day's first big hit, "Sentimental Journey," which she performed as a part of the band Les Brown and His Band of Renown in 1945, and was re-recorded for this album. Other tracks on the album consist mostly of pop standards, principally composed in the 1940s, approximately contemporaneously with the title track.
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In 2013, Decca Classics issued a second, 55-CD box set, along with a second 6-LP box set. The CD box set included two bonus discs: a new reissue of the 1953 monophonic recording of Stravinsky's "Rite of Spring" by Dorati with the Minneapolis Symphony Orchestra, and a first-time-on-CD reissue of the premiere recording of John Corigliano's Piano Concerto, played by Hilde Somer with the San Antonio Symphony Orchestra conducted by Victor Alessandro. Also included on the Corigliano CD was an interview with the composer and the pianist. As in the first CD box set, the 53 titles from the 1990s series were remastered by Wilma Cozart Fine.
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The Introit Gaudeamus omnes, scripted in square notation in the 14th–15th century Graduale Aboense, honours Henry, patron saint of Finland Gregorian chant is the main tradition of Western plainchant, a form of monophonic liturgical chant of Western Christianity that accompanied the celebration of Mass and other ritual services. This musical form originated in Monastic life, in which singing the 'Divine Service' nine times a day at the proper hours was upheld according to the Rule of Saint Benedict. Singing psalms made up a large part of the life in a monastic community, while a smaller group and soloists sang the chants. In its long history, Gregorian Chant has been subjected to many gradual changes and some reforms.
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Trobadours, 14th century The music of the troubadours and trouvères was a vernacular tradition of monophonic secular song, probably accompanied by instruments, sung by professional, occasionally itinerant, musicians who were as skilled as poets as they were singers and instrumentalists. The language of the troubadours was Occitan (also known as the langue d'oc, or Provençal); the language of the trouvères was Old French (also known as langue d'oil). The period of the troubadours corresponded to the flowering of cultural life in Provence which lasted through the twelfth century and into the first decade of the thirteenth. Typical subjects of troubadour song were war, chivalry and courtly love—the love of an idealized woman from afar.
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The set's public address (PA) system was initially designed by Fisher who proposed a monophonic system with speakers mounted on top of two large antler-like structures in front of the video screen. While discussing the structure to support the centralized PA system, Williams recalled a statement Bono made on the Zoo TV Tour about having a "secret fantasy to play a show underneath a set of gigantic golden arches". So the design was changed to feature a 100-foot (30-m) parabolic arch supporting the PA in the center of the stage. To further develop the concept, Fisher drew a version of the concert stage transformed into a supermarket, which later appeared in the Pop album artwork.
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Schaeffer presenting The Acousmonium. In 1966 composer and technician François Bayle was placed in charge of the Groupe de Recherches Musicales and in 1975, GRM was integrated with the new Institut national de l'audiovisuel (INA – Audiovisual National Institute) with Bayle as its head. In taking the lead on work that began in the early 1950s, with Jacques Poullin's potentiomètre d'espace, a system designed to move monophonic sound sources across four speakers, Bayle and the engineer Jean-Claude Lallemand created an orchestra of loudspeakers (un orchestre de haut-parleurs) known as the Acousmonium in 1974 . An inaugural concert took place on 14 February 1974 at the Espace Pierre Cardin in Paris with a presentation of Bayle's Expérience acoustique .
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In the early 1980s, many manufacturers were beginning to produce polyphonic synthesizers. The VCO designs of the time still left something to be desired in terms of tuning stability. Whilst this was an issue for monophonic synthesizers, the limited number of oscillators (typically 3 or fewer) meant that keeping instruments tuned was a manageable task, often performed using dedicated front panel controls. With the advent of polyphony, tuning problems became worse and costs went up, due to the much larger number of oscillators involved (often 16 in an 8-voice instrument like the Yamaha CS-80Yamaha CS-80, Vintage Synth Explorer from 1977 or Roland Jupiter-8Roland Jupiter 8, Vintage Synth Explorer from 1981).
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In the final stage, the various center-panned signal paths are usually mixed down to two identical tracks, which, because they are identical, are perceived upon playback as representing a single unified signal at a single place in the soundstage. In some cases, multitrack sources are mixed to a one- track tape, thus becoming one signal. In the mastering stage, particularly in the days of mono records, the one- or two-track mono master tape was then transferred to a one-track lathe intended to be used in the pressing of a monophonic record. Today, however, monaural recordings are usually mastered to be played on stereo and multi-track formats, yet retain their center-panned mono soundstage characteristics.
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His mother played classical piano; his father was a professional jazz musician who performed on accordion, piano, organ, and synthesiser; and his paternal grandfather, Bart Carolan, was a composer and arranger who worked for a time at the BBC. The Carolan family had immigrated to Australia from England when Peter was 18. At the time his gift for creating flowing melodies "with spine" was noticed by McMahon, Carolan was playing lap dulcimer, an instrument to which he was attracted because of its simplicity – "a primal drone, a strummed rhythm and a monophonic melody that could change mode by tuning". No direct communication between the two musicians was made at the festival but they had both noticed each other's presence.
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Many very old rides do not feature music; also, some vehicle rides may favor engine sounds instead of music. However, on rides that do feature music, early rides (and cheaper modern rides that imitate more well-known rides) are equipped with simple integrated circuits that continually play back one melody or repeat a set of melodies in sequence. These have evolved in the sense that the earliest musically-enabled rides played back only a single monophonic melody repetitively, while later ones played multiple polyphonic melodies, whilst sometimes including short sound or speech samples. Later rides could also use a tape deck, while more recent rides may have a solid state audio playback device akin to flash-based MP3 players.
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Labeled as a minimal synth, synth-pop and darkwave act, Xeno & Oaklander is considered to be among the key acts that revive and update the sounds of 70s and 80s' cold wave and minimal electronic bands, combining "crisp analog synths with poetic songwriting and vocals." Pitchfork critic Larry Fitzmaurice has described the band's cold wave-inspired music as "deadpan D.I.Y. post-punk filtered through brutal drum machines and synth lines so brittle and thin you could practically snap them over your knee." Preferring to use analog gear and no post- processing, the band used monophonic synthesizers during the Topiary era, while Hypnos signalled the reintroduction of polyphonic synthesizers and Wendelbo taking on sole vocal duties.
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Algorithmic composition with computers was first demonstrated in the 1950s (although algorithmic composition per se without a computer had occurred much earlier, for example Mozart's Musikalisches Würfelspiel). In the 1960s, live electronics were pioneered in America and Europe, Japanese electronic musical instruments began influencing the music industry and Jamaican dub music emerged as a form of popular electronic music. In the early 1970s, the monophonic Minimoog synthesizer and Japanese drum machines helped popularize synthesized electronic music. In the 1970s, electronic music began to have a significant influence on popular music, with the adoption of polyphonic synthesizers, electronic drums, drum machines and turntables, through the emergence of genres such as disco, krautrock, new wave, synth-pop, hip hop and EDM.
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Prior to adopting its former smooth jazz format, WAUN aired a satellite-fed classic hits format from Jones Radio, branded as "U-Rock.", prior to that it was an FM Talk station, and during much of the 80s and 90s it aired various country formats, including Hot Country and Polka known as "Moo 92". The station originally was put on the air by Harbor Cities Broadcasting, with a Polka format, mostly in monophonic, for several decades, prior to the death of its main stockholder and engineer Andy Brusda. Subsequent management failures caused the station to incur massive debt to the IRS, and the sale of the station to Magnum apparently stopped the mounting debtload and liability.
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Ars antiqua, also called ars veterum or ars vetus, is a term used by modern scholars to refer to the Medieval music of Europe during the High Middle Ages, between approximately 1170 and 1310. This covers the period of the Notre-Dame school of polyphony (the use of multiple, simultaneous, independent melodic lines), and the subsequent years which saw the early development of the motet, a highly varied choral musical composition. Usually the term "ars antiqua" is restricted to sacred (church) or polyphonic music, excluding the secular (non- religious) monophonic songs of the troubadours, and trouvères. However, sometimes the term "ars antiqua" is used more loosely to mean all European music of the thirteenth century, and from slightly before.
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The reduce this risk, some bass pedals have plastic covers over some of the buttons or "U"-shaped "switch guard" protectors near some buttons. Some 1990s and later bass pedals gave the player the option of selecting a monophonic or polyphonic setting. The polyphonic setting could sound more than one pitch at a time. Even though contrabass instruments are less likely to be used to play chords (three or more notes sounded together) than their higher- pitched cousins (as deep-pitched chords can sound unclear and "muddy"), a contrabass instrument like a bass pedal unit can still effectively play some dyads (two-notes sounded together), such as perfect fifths, perfect fourths, and octaves.
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The Human League used monophonic synthesizers to produce music with a simple and austere sound. After the breakthrough of Gary Numan in the UK Singles Chart in 1979, large numbers of artists began to enjoy success with a synthesizer-based sound in the early 1980s, including late-1970s debutants like Japan and Orchestral Manoeuvres in the Dark, and newcomers such as Depeche Mode and Eurythmics. In Japan, Yellow Magic Orchestra's success opened the way for synth-pop bands such as P-Model, Plastics, and Hikashu. The development of inexpensive polyphonic synthesizers, the definition of MIDI and the use of dance beats, led to a more commercial and accessible sound for synth-pop.
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The reign of Louis VII (1137–1180) witnessed a period of cultural innovation, in which appeared the Notre Dame school of musical composition, and the contributions of Léonin, who prepared two-part choral settings (organa) for all the major liturgical festivals. This period in musical history has been described as a paradigm shift of lasting consequence in musical notation and rhythmic composition, with the development of the organum, clausula, conductus and motet. The innovative nature of the Notre Dame style stands in contrast to its predecessor, that of the Abbey of St Martial, Limoges, replacing the monodic (monophonic) Gregorian chant with polyphony (more than one voice singing at a time). This was the beginning of polyphonic European church music.
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Röyksopp's music is often referred to as "warm", a reference to the band's downbeat electronica that combines elements of house music and Afro-American sounds. A notable component of Röyksopp's song repertoire relies on the use of multiple lead vocalists. For instance, Melody A.M. features the vocal talents of Anneli Drecker and Erlend Øye, The Understanding features Kate Havnevik, Chelonis R. Jones, and Karin Dreijer Andersson, and Junior features Robyn, Anneli Drecker, Karin Dreijer Andersson, and Lykke Li. Röyksopp enjoy using classic synthesizers, including the monophonic Korg MS-20, the polyphonic Roland Juno-106, and multiple members of the Akai Sampler Series. The band has stated that they prefer using analogue synthesizers over digital ones.
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Cassidy's music exhibits a radical approach to parametric organisation in composition, especially in his solo works, in a manner that he describes as to do with "decoupling". In works such as the ten monophonic miniatures for pianist, he treats the sound of the pianist's fingers on the keys as a separate parameter in the music, and in this and other pieces he incorporates and integrates a wide range of extended instrumental techniques. He is concerned to explore the possibilities of fracturing between different musical parameters, and to defamiliarise aspects of traditional performance practice. Intellectual influences upon his music include the work of Roman Jakobson and that of Gilles Deleuze and Félix Guattari.
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250px Stereophonic sound or, more commonly, stereo, is a method of sound reproduction that creates an illusion of multi-directional audible perspective. This is usually achieved by using two or more independent audio channels through a configuration of two or more loudspeakers (or stereo headphones) in such a way as to create the impression of sound heard from various directions, as in natural hearing. Thus the term "stereophonic" applies to so-called "quadraphonic" and "surround-sound" systems as well as the more common two-channel, two-speaker systems. It is often contrasted with monophonic, or "mono" sound, where audio is heard as coming from one position, often ahead in the sound field (analogous to a visual field).
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The 'High' and 'Low' buttons on the front panel select which group is selected, or both can be mixed for a thicker octave overtone on each note. The 'Low' must be on to hear anything on the highest octave because there are not enough frequency divisions to layer the two across the whole 61-key keyboard. Because all tones are present all the time, it had no restrictions on how many notes could be played at once, unlike most synthesizers at the time, which were often monophonic. (Aside from the duophonic ARP Odyssey for instance.) The Ensemble effect invokes the TOS rank to add the additional thickness to the other two 'ranks' of oscillators.
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Questions about periphery and centre (Arlt 1975) may be answered by the research of political and church history relative to Cluny (Huglo 1982, Gillingham 2006). In contrast to Fuller's study, James Grier's recent examination of earlier monophonic Proser-Sequentiaries suggests that they were created in the scriptorium of the Abbey Saint-Martial 100 years earlier (than the fore- mentioned fragments including polyphonic compositions), explicitly for liturgical use at Limoges, by Roger and Adémar de Chabannes.James Grier (1995). The concept of a local school of cantors who documented their innovations in newly designed liturgical books with the libellum structure—later imitated elsewhere (even in the Parisian Magnus liber organi)—is therefore still credible; at least for the 11th century.
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Notated evidence of alternative practices, where the organal voice changes between different strategies of heterophony (parallel and counter movement) and holding notes which support the modal colour of the cantus, can be found as later added exemplification in monophonic manuscripts of the Abbeys in Saint- Maur-des-Fossés, Fleury, and Chartres.See Wulf Arlt's reconstruction in Rankin (″Stylistic layers in eleventh-century polyphony″, 1993, 102–141). A systematic discussion of the various treatises and of the examples given in chant manuscripts is offered by Sarah Fuller (1990). One example concerning the tradition of Fleury Abbey is an addition of an organal voice (similar to the organum notation of the Winchester Troper) in a hagiographic Lectionary (I-Rvat Cod. Reg. lat.
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Allan Ramsay, poet and librettist, painted in 1722 by William Aikman The development of a distinct tradition of art music in Scotland was limited by the impact of the Scottish Reformation on ecclesiastical music from the sixteenth century, which replaced complex polyphony and organ music with monophonic congregational psalmody. The lack of a need for professional musicians to compose and perform liturgical music meant that there was not a group of trained musicians who could easily participate in the Italian-inspired idiom of classical music that developed almost everywhere else in Europe in the seventeenth century.J. R. Baxter, "Culture, Enlightenment (1660–1843): music", in M. Lynch, ed., The Oxford Companion to Scottish History (Oxford: Oxford University Press, 2001), , pp. 140–1.
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In the early Middle Ages, ecclesiastical music was dominated by monophonic plainchant, the separate development of British Christianity until the eighth century, led to the development of a distinct form of liturgical Celtic chant. This was superseded, from the eleventh century by Gregorian chant. England retained unique forms of music and of instrumentation, but English music was highly influenced by continental developments, while British composers made an important contribution to many of the major movements in early music in Europe, including the polyphony of the Ars Nova and laid some of the foundations of later national and international classical music. English musicians also developed some distinctive forms of music, including the Contenance Angloise, the rota, polyphonic votive antiphons and the carol and the ballad.
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Front view of the Synthi (VCS 3) II (DK1 keyboard not shown) The company's first commercial synthesiser, the VCS 3, designed by David Cockerell, was produced in 1969. It was developed in the basement of Zinovieff's house and was nicknamed "The Putney" after the London suburb where he was living at the time. (renamed from: ) EMS' original aim was to create a versatile monophonic synthesiser that would retail for just £100. While this proved unattainable in practice, the company nevertheless succeeded in manufacturing and selling the VCS3 for just £330, less than its nearest American competitor the Minimoog (which originally retailed for US$1495 when released in 1970) and far cheaper than Moog's modular systems, which cost thousands of dollars.
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A multiphonic is an extended technique on a monophonic musical instrument (one that generally produces only one note at a time) in which several notes are produced at once. This includes wind, reed, and brass instruments, as well as the human voice. Multiphonic-like sounds on string instruments, both bowed and hammered, have also been called multiphonics, for lack of better terminology and scarcity of research. Multiphonics on wind instruments are primarily a 20th-century technique, first explicitly called for in Sequenza I for solo flute by Luciano Berio and Proporzioni for solo flute by Franco Evangelisti, both composed in 1958, though the brass technique of singing while playing has been known since the 18th century and used by composers such as Carl Maria von Weber.
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Moog Music wisely included a discrete implementation of its famed, patented transistor ladder filter, which was first introduced in the Moog Modular systems of the 1960s and subsequently came into widespread prominence in the Minimoog. In Mono mode, the Memorymoog functions as a traditional monophonic synthesizer with 1–18 oscillators selectable in unison for powerful leads and basslines. The user may also specify any combination of Low-, Latest- or High-Note Priority keying and Single or Multiple Triggering, for an impressive degree of control. A Chord Memory function (for single key, parallel chord "planing" effects) and an Arpeggiator are also included, while an independent LFO with 5 non-mixable waveforms allows simultaneous modulation of each VCO frequency, oscillator pulse width and filter cutoff frequency in any combination.
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Paraphonic synthesizers, such as the Roland RS-202 string machine or Korg Poly-800, were designed to play multiple pitches at the same time by using multiple oscillators, but with a common filter and/or amplifier circuit shared among all the voices. The result is a synthesizer that can play chords, provided all the notes start and end at the same time (homophony). For example, playing a new note on top of notes already held might retrigger the volume envelope for the entire sound. Monophonic synthesizers with more than one oscillator (such as the ARP 2600) can often be patched to behave in a paraphonic manner, allowing for each oscillator to play an independent pitch which is then routed through a common VCF and VCA.
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Humphreys' main instruments are electronic keyboards. With OMD, he made use of a wide range of these including the Korg M-500 Micro Preset monophonic analog synthesizer, polyphonic analogue synthesizers such as the Sequential Circuits Prophet-5 and the Korg Trident, the electromechanical tape-sampling instrument known as the mellotron, electronic organs such as the Vox Jaguar, and digital sampling keyboards such as the E-mu Emulator and Fairlight CMI. Due to the restrictive nature of the equipment available to Humphreys and McCluskey they resorted to invention and innovation, which often defined their early sound. On the track "Souvenir" (1981) Humphreys used recordings of a choir tuning up to create the ethereal and fluttery choral effects which gave the song its original sound.
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Zorch, who formed in 1973, were an early English totally electronic band, pioneering integrated performances of synthesizers and lightshow. Originally a four-piece, by 1975 Zorch were performing as a duo: Basil Brooks and Gwyo Zepix played three monophonic EMS analogue synthesizers, but were augmented by Silver (dance) and a full-on psychedelic light show, provided by John Andrews under the name of 'Acidica'. At times reminiscent of Tim Blake as well as Tonto's Expanding Head Band, their repetitive melodies, extended improvisation and thumping sequenced bass created a unique musical style that anticipated techno and trance. In the days before polyphonic synthesizers and personal computers, they filled out the sound using two reel-to-reel tape machines as a delay line.
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According to musicologist Walter Everett, some of the vocal arrangements feature the same "pantonal planing of three-part root-position triads" adopted by the Byrds, who had initially based their harmonies on the style used by the Beatles and other British Invasion bands. Riley says that the Beatles softened their music on Rubber Soul, yet by reverting to slower tempos they "draw attention to how much rhythm can do". Wide separation in the stereo image ensured that subtleties in the musical arrangements were heard; in Riley's description, this quality emphasised the "richly textured" arrangements over "everything being stirred together into one high-velocity mass". Until late in their career, the "primary" version of the Beatles' albums was always the monophonic mix.
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Casio VL-Tone VL-1 The VL-1 was the first instrument of Casio's VL-Tone product line, and is sometimes referred to as the VL-Tone. It combined a calculator, a monophonic synthesizer, and sequencer. Released in June 1979,Mark Vail, The Synthesizer: A Comprehensive Guide to Understanding, Programming, Playing, and Recording the Ultimate Electronic Music Instrument, page 277, Oxford University Press it was the first commercial digital synthesizer,Impact of MIDI on electroacoustic art music, Issue 102, page 26, Stanford University selling for $69.95. It has 29 calculator-button keys (G to B), a three-position octave switch, one programmable and five preset sounds, ten built-in rhythm patterns, an eight-character LCD, a 100-note sequencer, and a multi-function calculator mode.
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Transcription in reduced note values of the Trotto on f. 62v, showing aperto and chiusso endings Add MS 29987 is a medieval Tuscan musical manuscript dating from the late fourteenth or early fifteenth century, held in the British Library in London. It contains a number of polyphonic Italian Trecento madrigals, ballate, sacred mass movements, and motets, and 15 untexted monophonic instrumental dances, which are among the earliest purely instrumental pieces in the Western musical tradition. The manuscript apparently belonged to the de' Medici family in the fifteenth century, and by 1670 was in the possession of Carlo di Tommaso Strozzi; it was in the British Museum from 1876, where it was catalogued as item 29987 of the Additional manuscripts series.
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A MIDI link can carry sixteen independent channels of information. The channels are numbered 1–16, but their actual corresponding binary encoding is 0–15. A device can be configured to only listen to specific channels and to ignore the messages sent on other channels ("Omni Off" mode), or it can listen to all channels, effectively ignoring the channel address ("Omni On"). An individual device may be monophonic (the start of a new "note- on" MIDI command implies the termination of the previous note), or polyphonic (multiple notes may be sounding at once, until the polyphony limit of the instrument is reached, or the notes reach the end of their decay envelope, or explicit "note-off" MIDI commands are received).
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The human ear is sensitive to loud sounds being suddenly reduced in volume, but less so to soft sounds being increased in volume—parallel compression takes advantage of this difference. Unlike normal limiting and downward compression, fast transients in music are retained in parallel compression, preserving the "feel" and immediacy of a live performance. Because the method is less audible to the human ear, the compressor can be set aggressively, with high ratios for strong effect. In an audio mix using an analog mixing console and analog compressors, parallel compression is achieved by sending a monophonic or stereo signal in two or more directions and then summing the multiple pathways, mixing them together by ear to achieve the desired effect.
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The Aelita has 3 oscillators, each with 3 fixed waveshapes (Saw, Pulse and Square), plus a 4th oscillator only active in unison mode, amplitude cross-modulation, a low-pass filter with resonance, one LFO and two envelope generators, all arranged in a fixed architecture typical of subtractive synthesis. It has a maximum range of 7.5 octaves. It is monophonic, meaning that it can play only one note at a time (although detuning of each oscillator makes it possible to play fixed intervals or chords instead of notes). It has two special modes: the unison mode creates an unison-like effect on each oscillator (reducing the range as a tradeoff), and the strings mode creates a vibrato-like effect independent of the LFO.
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Aladdin is a 1958 musical fantasy written especially for television with a book by S.J. Perelman and music and lyrics by Cole Porter, telecast in color on the DuPont Show of the Month by CBS. It was Porter's very last musical score. Columbia Records issued both monophonic and stereophonic LP's of the songs with members of the original TV cast, which included Cyril Ritchard, Dennis King, Basil Rathbone, Anna Maria Alberghetti, Geoffrey Holder (as the Genie), Sal Mineo (as Aladdin,) and Una Merkel (as Aladdin's mother). Sony Records has digitally remastered the stereo recording for release on CD. As far as is known, the original telecast was never repeated (although videotape was in use by then), nor has it been issued on VHS or DVD.
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The lapse of patents in recent years, such as for the Moog synthesizer transistor ladder filter, has spurred a return of DIY and kit synthesizer modules, as well as an increase in the number of commercial companies selling analog modules. Reverse engineering has also revealed the secrets of some synthesizer components, such as those from ARP Instruments, Inc. In addition, despite the widespread availability during the 2000s of relatively inexpensive digital synthesizers that offered complex synthesis algorithms and envelopes, some musicians are attracted to the sounds of monophonic and polyphonic analog synths. While some musicians embrace analog synthesizers as preferable, others counter that analog and digital synthesis simply represent different sonic generation processes that both reproduce characteristics the other misses.
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A daf () is a large-sized tambourine or Perso-Arabic frame drum used to accompany both popular and classical music in Iran, Azerbaijan, the Arab world, Turkey (where it is called tef), Uzbekistan (where it's called childirma), the Indian subcontinent (where it is known as the Dafli) and Turkmenistan. Daf typically indicates the beat and tempo of the music being played, thus acts like the conductor in the monophonic oriental music. The Persian poet Rudaki, who widely used names of the musical instruments in his poems, mentions the daf and the tambourine (taboorak) in a Ruba'i: A common use of tambourine (Daf) is by Albanians. They are often played by women and bridesmaids in wedding cases to lead the ceremony when bride walks down the aisle.
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Collections exist which deviate considerably from these trends, however; several printers specialized in polyphonic airs de cour throughout the early 17th century, and there are eight volumes published by Le Roy & Ballard which are monophonic – for a single voice with no accompaniment. Airs de cour show surprisingly little influence from the Italian early Baroque trends of monody and the madrigal, either in its polyphonic or its concertato form. This is all the more surprising as Italian musicians often worked in France, and the polyphonic and concertato forms of madrigal were being deeply influential in Germany at the same time. Emotional expression in the airs de cour, compared to that of the contemporary Italian madrigalists, is cool, classical and reserved, in keeping with contemporary French taste.
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Decca Records in England came out with FFRR (Full Frequency Range Recording) in the 1940s, which became internationally accepted as a worldwide standard for higher quality recording on vinyl records. The Ernest Ansermet recording of Igor Stravinsky's Petrushka was key in the development of full frequency range records and alerting the listening public to high fidelity in 1946. Record companies mixed most popular music singles into monophonic sound until the mid-1960s—then commonly released major recordings in both mono and stereo until the early 1970s. Many 1960s pop albums available only in stereo in the 2000s were originally released only in mono, and record companies produced the "stereo" versions of these albums by simply separating the two tracks of the master tape, creating "pseudo stereo".
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The tradition of eastern liturgical chant, encompassing the Greek-speaking world, developed in the Byzantine Empire from the establishment of its capital, Constantinople, in 330 until its fall in 1453. It is undeniably of composite origin, drawing on the artistic and technical productions of the classical Greek age, of Jewish religious music, and inspired by the monophonic vocal music that evolved in the early (Greek) Christian cities of Alexandria, Antioch and Ephesus (see also Early Christian music). In his lexicographical discussion of instruments, the Persian geographer Ibn Khurradadhbih (d. 911) cited the lūrā (bowed lyra) as a typical instrument of the Byzantines along with the urghun (organ), shilyani (probably a type of harp or lyre), and the salandj (probably a bagpipe).
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This is why one often notices the banner PLAY ONLY WITH STEREO CARTRIDGE AND STYLUS on stereo vinyl issued between 1958 and 1964. Conversely, and with the benefit of no damage to any type of disc even from the beginning, a stereo cartridge reproduces the lateral grooves of monophonic recording equally through both channels, rather than through one channel. Also, it gives a more balanced sound, because the two channels have equal fidelity as opposed to providing one higher-fidelity laterally recorded channel and one lower-fidelity vertically recorded channel. Overall, this approach may give higher fidelity, because the "difference" signal is usually of low power, and is thus less affected by the intrinsic distortion of "hill and dale"-style recording.
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Tomaso Cecchini, from Verona, who spent his entire working life (1603–44) as a choirmaster, organist and composer in Split and Hvar, published his madrigals Armonici concetti, libro primo (1612) as the oldest Baroque collection written for the Croatian milieu. The collection Sacrae cantiones (Venice 1620) by Ivan Lukačić from Šibenik is valuable testimony of sacral music that was performed in Split, and is generally speaking, one of the most significant monuments of old Croatian music altogether. The Franciscans and Paulists cultivated sacral chants, mostly monophonic and without organ accompaniment (the manuscript cantos of Frane Divnić, Bone Razmilović, Filip Vlahović-Kapušvarac, Franjo Vukovarac and Petar Knežević). Also, worth mentioning is Ragusino Vincenzo Comnen, the only representative of the music of the Dubrovnik nobility.
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The organum voice simply sings the text of the first verse with the melody notated with the text of the second one, and the cantus does vice versa repeat the melody of the first verse, while the singers applies it to the text of the second verse. On folio 81r and 105r we have three early examples of later added florid organum. Its notation technique had already developed in the monophonic manuscripts notated in parts by Adémar, in cases where the scribe of the text did not leave enough space for the neumes. The notator already used vertical strokes, which do indicate how the melismas have been coordinated with the syllables. On folio 105 recto, a «Benedicamus domino» was notated separately from the florid organum.
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Trap music employs multilayered thin- or thick-textured monophonic drones with sometimes a melodic accompaniment expressed with synthesizers; crisp, grimy, and rhythmic snares, deep 808 kick drums, double- time, triple-time, and similarly divided hi-hats, and a cinematic and symphonic use of string, brass, woodwind, and keyboard instruments to create an energetic, hard-hitting, deep, and variant atmosphere.It's a Trap! An 11-Part History of Trap Music, From DJ Screw to Gucci Mane to Flosstradamus Miami New Times These primary characteristics, the signature sound of trap music, originated from producer Shawty Redd. Trap may use a range of tempos, from 50 BPM (programmed at 100 BPM to achieve finer hi-hat subdivision) to 88 (176) BPM, but the tempo of a typical trap beat is around 70 (140) BPM.
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The first volume contains monophonic choir school songs (ἄσματα σχολικὰ μονόφωνα) in contemporary psaltic notation. The second volume of this anthology includes popular Western European songs translated to Greek , and even polyphonic songs for two and three voices (ἄσματα σχολικά δίφωνα), which were transcribed into contemporary psaltic notation. The third volume contains a collection of church songs, sung during ecclesiastical occasions, and includes polyphonic arrangements as well as monodic chant according to the traditional psaltic style (ὕμνοι). Angelos Boudouris made extraordinary efforts to transcribe Iakovos’ performances of classical pieces, either by bringing his manuscripts to the Patriarchal church so as to modify them from one year to the next, or by listening to his children, Constantinos and Leontios (both Canonarchs of Iakovos), chant whatever their teacher had taught them.
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Capitol removed five tracks ("Money", "You've Really Got A Hold On Me", "Devil in Her Heart", "Please Mister Postman", and "Roll Over Beethoven") and added both sides of the band's first American hit single ("I Want To Hold Your Hand" c/w "I Saw Her Standing There") and the British single's B-side, "This Boy". "I Saw Her Standing There" was on the Beatles' first British album, Please Please Me. This resulted in Capitol releasing Meet the Beatles as a 12-track album with a duration of around 30 minutes and made it comparable with other American pop albums. It also provided Capitol with unreleased tracks for use in later US Beatles albums such as The Beatles' Second Album. Capitol also issued "duophonic" stereo releases of some recordings where the original master was monophonic.
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These traditions reflect Italy's geographic position in southern Europe and in the centre of the Mediterranean; Celtic, Roma, and Slavic influences, as well as rough geography and the historic dominance of small city states, have all combined to allow diverse musical styles to coexist in close proximity. Italian folk styles are very diverse, and include monophonic, polyphonic, and responsorial song, choral, instrumental and vocal music, and other styles. Choral singing and polyphonic song forms are primarily found in northern Italy, while south of Naples, solo singing is more common, and groups usually use unison singing in two or three parts carried by a single performer. Northern ballad-singing is syllabic, with a strict tempo and intelligible lyrics, while southern styles use a rubato tempo, and a strained, tense vocal style.
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The center of the screen shows a vertical scrolling road with two lanes; the areas either side of the road are used for scores and instructions. The player's car is driving up the road and every few seconds a donkey will appear at random on one side of the road at the top of the screen. As the donkey moves down the screen the player can press the space bar to switch between lanes to avoid the donkey. If the car hits the donkey, both car and donkey explode, and parts of the graphics are scattered to the four corners of the screen to the sound of a short monophonic tune played through the PC speaker, with the word "BOOM!" displayed on the left side of the screen.
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WLTL launched in January 1968 as a 10 watt radio station on the third floor of the Vaughan Building at LTHS' North Campus, with a simple omnidirectional antenna. WLTL originally operated on an assigned frequency of 88.3 MHz, but by 1969 changed frequency to 88.1 to permit WHSD, Hinsdale to operate on 88.5 and avoid having the two relatively close stations operate on adjacent channels. While licensed to operate at 10 watts, with a transmitter capable only of 10 watts power output, and a single bay horizontally polarized antenna with inexpensive transmission line, it was estimated that the actual ERP of the station at that time was approximately 7 watts. The original studio furniture was donated by local La Grange station WTAQ. The station transmitted a monophonic signal until the mid-1980s.
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A chansonnier (, , Galician and , or canzoniéro, ) is a manuscript or printed book which contains a collection of chansons, or polyphonic and monophonic settings of songs, hence literally "song-books"; however, some manuscripts are called chansonniers even though they preserve the text but not the music, for example, the Cancioneiro da Vaticana and Cancioneiro da Biblioteca Nacional, which contain the bulk of Galician-Portuguese lyrics. The most important chansonniers contain lyrics, poems and songs of the troubadours and trouvères used in the medieval music. Prior to 1420, many song-books contained both sacred and secular music, one exception being those containing the work of Guillaume de Machaut. Around 1420, sacred and secular music was segregated into separate sources, with large choirbooks containing sacred music, and smaller chansonniers for more private use by the privileged.
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The song was mixed, in mono only, that same day. The music features an unusual oboe-like sound reminiscent of an Indian shehnai, which was created with a clavioline, an early, three-octave forerunner of the synthesizer. Being a monophonic keyboard, it was capable of sounding only one note at a time; according to music journalist Gordon Reid, citing a report from the session, Lennon created the trill sound "by rolling an orange up and down the keyboard" of the clavioline. Musicologist William Echard cites the clavioline part as an example of a psychedelic feature he calls a "garble line" – a musical part that "often meanders widely through pitch space, following a rhythmic profile that does not adhere strongly to the prevailing harmonic or melodic logic" – with "Orientalist connotations".
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The cassette tape on which the game was supplied also contained an audio track also titled "Confusion", which was composed by the Band Private Property (Matt Smith Lyrics, Joanne Holt/Steve Salt Music) and performed by Joanne Holt, Matt Smith, Steve Salt, Chris Weller and Gary Seaward. Rob Hubbard translated the original track into the game's soundtrack. Rob Hubbard's version of the music is mentioned in the book Bits and pieces: a history of chiptunes by Kenneth B. McAlpineKenneth B. McAlpine (2018) "Bits and pieces: a history of chiptunes", Oxford University Press, Oxford. UK. The band persuaded Incentive Software to change their audio cassette duplication process from monophonic to stereophonic, so that the music could be better appreciated (mono was fine for the computer program data which was distributed on cassette tapes in the 80s).
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Later remixes of the song, such as that included in the Love soundtrack album, are in true stereo for the complete song. Similarly, the mono mix of the song "Only a Northern Song" featured sound effects that were made during the mixing process and could only with difficulty be remade for a stereo remix, so the song was released in fake stereo on the 1969 album Yellow Submarine. However, the 1999 album Yellow Submarine Songtrack features a full stereo remix of the song, and the 2009 remaster of the original 1969 album restores the song to its original mono mix because enhanced stereo had fallen out of favor.Yellow Submarine 2009 Remaster Booklet Other record companies used similar processing of monophonic material to create a stereo effect, but referred to the process by other names.
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In its original conception, organum was never intended as polyphony in the modern sense; the added voice was intended as a reinforcement or harmonic enhancement of the plainchant at occasions of High Feasts of importance to further the splendour of the liturgy. The analogue evolution of sacred architecture and music is evident: during previous centuries monophonic Mass was celebrated in Abbatial churches, in the course of the 12th and 13th centuries the newly consecrated cathedrals resounded with ever more complex forms of polyphony. Exactly what developments took place where and when in the evolution of polyphony is not always clear, though some landmarks remain visible in the treatises. As in these instances, it is hard to evaluate the relative importance of treatises, whether they describe the 'actual' practice or a deviation of it.
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In the course of restoration or remastering of monophonic records, various techniques of "pseudo-stereo", "quasi-stereo", or "rechanneled stereo" have been used to create the impression that the sound was originally recorded in stereo. These techniques first involved hardware methods (see Duophonic) or, more recently, a combination of hardware and software. Multitrack Studio, from Bremmers Audio Design (The Netherlands), uses special filters to achieve a pseudo-stereo effect: the "shelve" filter directs low frequencies to the left channel and high frequencies to the right channel, and the "comb" filter adds a small delay in signal timing between the two channels, a delay barely noticeable by ear,The comb filter allows range of manipulation between 0 and 100 milliseconds. but contributing to an effect of "widening" original "flattiness" of mono recording.
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And in 1974 Oberheim produced the first polyphonic synthesizer using their SEM Modules (which were originally designed to allow musicians to just layer more complex sounds together in a monophonic 'stack'.) They produced a key assigner circuit that would assign a note to one of several SEM modules. (They came in 2, 4 and 8 voice racks eventually.) When more notes were hit than the number of racks available, the latest note would have to 'steal' one of the SEM modules from the note it had been assigned to. These polyphonic synthesizers were very popular eventually and Yamaha produced the CS-50 in 1976 which had four voices that didn't have to be individually programmed in order for them to sound the same. A sea of other entries followed.
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The tradition of eastern liturgical chant, encompassing the Greek-speaking world, developed in the Byzantine Empire from the establishment of its capital, Constantinople, in 330 until its fall in 1453. It is undeniably of composite origin, drawing on the artistic and technical productions of the classical Greek age and inspired by the monophonic vocal music that evolved in the early Greek Christian cities of Alexandria, Jerusalem, Antioch and Ephesus."The origin of Byzantine music" Institute For Research On Music And Acoustics It was imitated by musicians of the 7th century to create Arab music as a synthesis of Byzantine and Persian music, and these exchanges were continued through the Ottoman Empire until Istanbul today. The term Byzantine music is sometimes associated with the medieval sacred chant of Christian Churches following the Constantinopolitan Rite.
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Poetry and stories written in French were popular after the Norman conquest, and by the twelfth century some works on English history began to be produced in French verse. Romantic poems about tournaments and courtly love became popular in Paris and this fashion spread into England in the form of lays; stories about the court of King Arthur were also fashionable, due in part to the interest of Henry II.; English continued to be used on a modest scale to write local religious works and some poems in the north of England, but most major works were produced in Latin or French. Music and singing were important in England during the medieval period, being used in religious ceremonies, court occasions and to accompany theatrical works.; From the eleventh century distinctive monophonic plainchant was superseded, as elsewhere in Europe, by standardised Gregorian chant.
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Dimitrios Semsis (lyra), Agapios Tomboulis (banjo) and Roza Eskenazi, the Smyrna Trio (Athens, 1932) The melodies of most rebetiko songs are thus often considered to follow one or more dromoi (δρόμοι) (Greek for 'roads' or 'routes'; singular is dromos (δρόμος). The names of the dromoi are derived in all but a few cases from the names of various Turkish modes, also known as makam. However, the majority of rebetiko songs have been accompanied by instruments capable of playing chords according to the Western harmonic system, and have thereby been harmonized in a manner which corresponds neither with conventional European harmony, nor with Ottoman art music, which is a monophonic form normally not harmonized. Furthermore, rebetika has come to be played on instruments tuned in equal temperament, in direct conflict with the more complex pitch divisions of the makam system.
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A sequel called Cavern, whose title is often mistakenly considered as referring to the Liverpool club made famous in the 1960s by The Beatles and other Merseyside performers but is actually a reference to the title track, was released in 2005. In 2006 he released Merseybeat Mono, which contained all the songs from his first two albums in monophonic sound, as well as Concerto for Violin with Orchestra, the acoustic Fulton Avenue, and the single "She's Good". Sprague's later releases included Merry Merseybeat Christmas (December 2006) and Merry Christmas, Traditional Carols arranged as Traditional Rock Songs (November 2007), "Fulton Chateau" (November 2008), and "String Quartets No. 1 & 2" (July 2009) on Wichita Falls Records. He was also the leader of the Sprague Brothers who released several albums on Hightone Records, El Toro, Wichita Falls Records, and other labels.
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The other codecs used are AMR-WB+ that can create more multiple audio programs as well as limited multimedia can also be broadcast, as with HD Radio and DAB. The available broadcasting bandwidth for digital audio varies from 40 kbit/s while sharing the space with existing analog signals, or 156 kbit/s if all analog signals (except the base monophonic signal) are dropped. (For comparison, iBiquity's Hybrid Digital/analog system offers 100-150 kbit/s in shared mode, and 300 kbit/s in pure digital mode.) The coverage is similar to FM Stereo, and therefore high ERP is required in larger urban areas, as with normal FM transmissions. Digital Radio Express has since gone out of business, after a brief stretch where it rebranded itself as VuCast in an effort to emphasize the technology's datacasting capabilities.
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It is assumed that this cut had something to do with space limitations within the new stereo LP format; with a playing time of nearly 50 minutes, the album was nearly twice as long as the typical pop LP of the period. "Come Rain or Come Shine" was reissued in 1967 on the RCA Camden compilation Hello, Young Lovers, but the stereo version on that album was electronically reprocessed ("fake stereo") from monophonic. In 2001, Saturday Night with Mr.C was reissued on compact disc by the Collectables Records third-party reissue label by arrangement with RCA; this reissue included the first release of the true stereo version of "Come Rain or Come Shine". Since Como's television show ran on Thursday evenings in Australia, the title for the Australian pressing of this album is Thursday Night With Mr. Como.
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During the Brain Salad Surgery tour of 1974, Emerson's keyboard setup included the Hammond C-3 organ, run through multiple Leslie speakers driven by HiWatt guitar amplifiers, the Moog 3C modular synthesiser (modified by addition of various modules and an oscilloscope) with ribbon controller, a Steinway concert grand piano with a Minimoog synthesiser on top of it, an upright acoustic-electric piano that was used for honky-tonk piano sounds, a Hohner Clavinet and another Minimoog synthesiser. Emerson also used a prototype polyphonic synthesiser produced by Moog, which was the test bed for the Moog Polymoog polyphonic synthesiser. The original synthesiser setup as envisioned by Moog was called the Constellation, and consisted of three instruments – the polyphonic synthesiser, called the Apollo, a monophonic lead synthesiser called the Lyra, and a bass-pedal synthesiser, called the Taurus, but Emerson never used the Taurus.
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Oberheim 4 Voice The following year, when Norlin (CMI's successor) cancelled several large orders for Oberheim's Maestro products, Oberheim shifted his design and manufacturing efforts to replace that lost business. He expanded the SEM concept, and again enlisting the expertise of Dave Rossum and Scott Wedge of E-mu Systems, combining the SEM with a digital keyboard, created the Oberheim 2-Voice and 4-Voice synthesizers, the first commercially available polyphonic music synthesizers. By combining more single-voice synthesizer modules together, Oberheim expanded the concept to the Oberheim 8-Voice synthesizer, introduced in 1976. Realizing that programming the 4-Voice on stage was impractical, he designed the Polyphonic Synthesizer Programmer, an integrated circuit memory for storing the synthesizer's sound settings, another industry first. Integrating this technology into a synthesizer, Oberheim introduced the OB1, the first programmable monophonic synthesizer, in 1977.
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FMX LogoUS Patent and Trademark Office FMX is the name of a commercially unsuccessful noise reduction system developed in the 1980s for FM broadcasting in the United States. FM stereo broadcasting is known to incur up to a 23 dB noise penalty over that of monophonic FM broadcasting; this is due to the combination of the triangular FM noise spectrum and the wider baseband bandwidth occupied by the stereo multiplex signal. Developed at the CBS Technology Center, FMX was intended to improve this characteristic for listeners in the fringe areas where the noise penalty would be worst. This improvement was achieved by adding an amplitude-compressed version of the L−R (left-minus-right, or difference) signal modulated in quadrature with the stereo subcarrier, using a version of the CX noise-reduction system originally developed at CBS for LP records.
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Robert Moog replied that there was no chance because the machine was too fragile and required extensive training to operate properly, but Emerson finally convinced Moog and the Minimoog was released. Keith Emerson was the first musician to tour with a Minimoog during Emerson, Lake & Palmer's Pictures at an Exhibition shows. The Minimoog became the most popular monophonic synthesizer of the 1970s, and it was quickly taken up by leading rock and electronic music groups such as Yes, Tangerine Dream, Parliament-Funkadelic, Pink Floyd, Devo, Yellow Magic Orchestra, Gary Numan, and Rush, and musicians such as Pete Townshend, George Harrison, Ray Manzarek, Stevie Wonder, Joe Zawinul, Chick Corea, Isao Tomita, and Herbie Hancock. In 1974 the German electronic group Kraftwerk further popularized the sound of the synthesizer with their landmark album Autobahn, which used several types of synthesizer including a Minimoog.
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Anonymous IV mentions a number of compositions which he attributes to Pérotin, including the four-voice Viderunt omnes and Sederunt principes, and the three-voice Alleluia "Posui adiutorium" and Alleluia "Nativitas". Johannes de Garlandia states that the Magnus Liber commences with Perotin's four-part organa, and makes specific reference to the notation in the three-part Alleluya, Posui adiutorium. Other works are attributed to him by later scholars, such as Heinrich Husmann, on stylistic grounds, all in the organum style, as well as the two-voice Dum sigillum summi Patris and the monophonic Beata viscera in the conductus style. (The conductus sets a rhymed Latin poem called a sequence to a repeated melody, much like a contemporary hymn.) By tradition, the four-part pieces of the Notre Dame school have been attributed to Pérotin, leaving the two-part pieces to Léonin.
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310 Nevertheless, there are many indicators of the sources and elements of Debussy's idiom. Writing in 1958, the critic Rudolph Reti summarised six features of Debussy's music, which he asserted "established a new concept of tonality in European music": the frequent use of lengthy pedal points – "not merely bass pedals in the actual sense of the term, but sustained 'pedals' in any voice"; glittering passages and webs of figurations which distract from occasional absence of tonality; frequent use of parallel chords which are "in essence not harmonies at all, but rather 'chordal melodies', enriched unisons", described by some writers as non- functional harmonies; bitonality, or at least bitonal chords; use of the whole-tone and pentatonic scales; and unprepared modulations, "without any harmonic bridge". Reti concludes that Debussy's achievement was the synthesis of monophonic based "melodic tonality" with harmonies, albeit different from those of "harmonic tonality".
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Prior to 2005, most ring tones were based on polyphonic or even cruder monophonic tones because that was what most cell phone handsets could play. However, with snippets of existing songs and compositions generating more than $2 billion in annual worldwide revenues in 2005 as ring tones, cell phone handset manufacturers began producing handsets capable of replaying the upper and lower notes from a song's melody without tinny- sounding bleats. In early 2005, retailer Best Buy turned music Shayman had written for one of its commercials into a ring tone and offered it on the Best Buy website. From this, Shayman was one of the first to recognize the business potential in composing original ring tone material exclusively for cell phones and collaborated in 2005 with music producer Eddie O'Loughlin, and singer/songwriter Dee Robert in the new mobile music art form to produce original ring tones for Jamba!.
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A new format, All-news radio, became popular on the AM band in major cities in the late 1960s. National Public Radio (later NPR) was incorporated in February 1970 under the Public Broadcasting Act of 1967; its television counterpart, PBS, was created by the same legislation. (NPR and PBS are operated separately from each other.)Michael P. McCauley, NPR: The trials and triumphs of National Public Radio (Columbia University Press, 2005) Concerned that FM acceptance was still limited, the FCC acted to boost its attractiveness, including authorizing stereo transmissions in 1961. (Recorded sound had been monophonic until introduction of the stereo LP record in 1958, although initially the only way for radio stations to transmit stereo was when sister stations "simulcast" each channel on separate stations, for example using an AM station to transmit one channel, and a co-owned FM or television station to transmit the other.
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The Kawasaki Synthesizer was sold as a 2-disk package. The first disk, "The Performer", is divided into 8 different screens including Demos like the synchronized graphics/music demo entitled "Kawasaki Space Dance Theatre", a Keyboard Mode allowing input from the Commodore keyboard (top two rows) or Sight & Sound's "Incredible Musical Keyboard" (IMK) and selection of 21 preset instrumental/effects options and 13 pre-recorded songs with 2 LPs. The second disk, "The Composer" (an expansion of Kawasaki's original The Composer program), is divided into 4 different screens including a Keyboard Page allowing Monophonic or Polyphonic mode, a Sound Editing Page, and options to perform multifile chaining and three-track recording. The program came with a software version of a techno track by Kawasaki entitled "Satellite Station", and it allowed a user to select notes to be played and create songs that could then be saved.
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Traditionally, the end of the period of active trovadorismo is given as 1350, the date of the testament of D. Pedro, Count of Barcelos (natural son of King Dinis of Portugal), who left a Livro de Cantigas (songbook) to his nephew, Alfonso XI of Castile. The troubadours of the movement, not to be confused with the Occitan troubadours (who frequented courts in nearby León and Castile), wrote almost entirely cantigas (although there were several kinds of cantiga) with, apparently, monophonic melodies (only fourteen melodies have survived, in the Pergaminho Vindel and the Pergaminho Sharrer, the latter badly damaged during restoration by Portuguese authorities). Their poetry was meant to be sung, but they emphatically distinguished themselves from the jograes who in principle sang, but did not compose (though there is much evidence to contradict this). It is not clear if troubadours performed their own work.
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Boy and toy record player, 1920s After electrical disc-playing machines appeared on the market in the late 1920s, often combined with a radio receiver, the term "record player" was increasingly favored by the public. Manufacturers, however, typically advertised such combinations as "radio- phonographs". Portable record players (no radio included), with a latched cover and an integrated power amplifier and loudspeaker, were becoming popular as well, especially in schools and for use by children and teenagers. In the years following the Second World War, as "hi-fi" (high-fidelity, monophonic) and, later, "stereo" (stereophonic) component sound systems slowly evolved from an exotic specialty item into a common feature of American homes, the description of the record-spinning component as a "record changer" (which could automatically play through a stacked series of discs) or a "turntable" (which could hold only one disc at a time) entered common usage.
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The RCA Gold Seal mid- priced label was launched in 1975 and initially consisted mainly of reissues of "Living Stereo" recordings from the late 1950s and 1960s previously issued on the Red Seal label. Beginning in the 1980s, many older monophonic Red Seal recordings from the 78 RPM and early LP era were reissued on the Gold Seal label. Included were recordings by "Golden Age" opera stars such as Enrico Caruso, Nellie Melba, Amelita Galli-Curci, Ezio Pinza and Rosa Ponselle, as well as renowned virtuosos like Vladimir Horowitz, Arthur Rubinstein, Jascha Heifetz and Wanda Landowska. In the compact disc era, the RCA Victor Gold Seal mid-priced label superseded the RCA Victrola label for reissuing historic Red Seal recordings; The Victrola label now issued budget-priced stereo recordings on CD and cassette of the standard classical repertoire drawn from former Red Seal issues.
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The origins of the madrigal are obscure, and debated, with one school of thought seeing it as a secular mutation of the conductus of the ars antiqua, and another seeing it as deriving from 13th-century secular monophonic song with an improvised accompaniment. Little Italian music from the 13th century has survived, so links between medieval forms such as the conductus and troubadour song and the music of the trecento are largely inferential. The origin of the name (which appears in early sources as madriale, matricale, madregal, and marigalis) is also unclear; two possibilities are derivation from materialis (in contrast to formalis), designating a poem without a definite form, or from matrix, meaning mother, either as in a song in the mother tongue or music used for Mother Church. The earliest stage in the development of the madrigal is seen in the Rossi Codex, a collection of music from ca.
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NuBus cards are not supported. Standard equipment on the 6300/160 and 6360 include a 1.2 GB IDE hard drive, an 8X CD- ROM, full stereo input (unlike the 6200/6300 series, which combined stereo input into monophonic sound), one internal speaker (compared to two on the 6200/6300 series), and support for increased display resolutions with higher bit depth, notably 800x600 16-bit color at 60 Hz and 1024x768 8-bit color at 60 or 70 Hz. The 6360's power supply unit is increased to 150 watts. While the 6360 was designed from the start to support JEDEC-standard 5-volt, 64-bit, 168-pin, EDO 70ns DIMMs with a 2k refresh rate, the logic board did not initially support EDO RAM. A user servicing the machine would need to examine the serial numbers on the on-board RAM to see whether EDO is supported.
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Title page of Loys Bourgeois "Pseaulmes LXXXII" (Lyon : 1554) Louis Bourgeois is the one most responsible for the tunes in the Genevan Psalter, the source for the hymns of both the Reformed Church in England and the Pilgrims in America. In the original versions by Bourgeois, the music is monophonic, in accordance with the dictates of John Calvin, who disapproved not only of counterpoint but of any multiple parts; Bourgeois though did also provide four-part harmonizations, but they were reserved for singing and playing at home. Many of the four-part settings are syllabic and chordal, a style which has survived in many Protestant church services to the present day. Of the tunes in the Genevan Psalter, some are reminiscent of secular chansons, others are directly borrowed from the Strasbourg Psalter; The remainder were composed by successively Guillaume Franc, Louis Bourgeois and Pierre Davantès.
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An early example of such an approach to video game music was the opening chiptune in Tomohiro Nishikado's Gun Fight (1975). While this allowed for inclusion of music in early arcade video games, it was usually monophonic, looped or used sparingly between stages or at the start of a new game, such as the Namco titles Pac-Man (1980) composed by Toshio Kai or Pole Position (1982) composed by Nobuyuki Ohnogi. The first game to use a continuous background soundtrack was Tomohiro Nishikado's Space Invaders, released by Taito in 1978. It had four descending chromatic bass notes repeating in a loop, though it was dynamic and interacted with the player, increasing pace as the enemies descended on the player. The first video game to feature continuous, melodic background music was Rally-X, released by Namco in 1980, featuring a simple tune that repeats continuously during gameplay.
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Novation's first commercial product, released in 1992, was the Novation MM10, a portable battery-operated keyboard controller with full-sized keys, designed to operate with the Yamaha QY10 music workstation. It was based on a device called the MidiCon, which was never released and was the first hardware controller the company made. The MM10 combined with the QY10 arguably constituted the first completely portable modern music workstation. In 1993 the company released the Novation Bass Station (also known as the Bass Station Keyboard), today regarded as a classic synthesiser. Influenced by the Roland TB-303 Bassline, a portable compact synthesiser designed for instrumental accompaniment, Bass Station used digitally controlled analogue oscillators (DCOs), LFO and filter to replicate the sound of a traditional monophonic twin-oscillator analogue synth. The core technology of Analogue Sound Modelling (ASM) was introduced in 1995 with the Drum Station, which modelled the Roland TR-808 and TR-909 drum machines using digitally synthesised models of the original waveforms.
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A representation from the 1500s of the Muses dancing From the descriptions that have come down to us through the writings of those such as Plato, AristoxenusAristoxenus. and, later, Boethius,Boethius. we can say with some caution that the ancient Greeks, at least before Plato, heard music that was primarily monophonic; that is, music built on single melodies based on a system of modes / scales, themselves built on the concept that notes should be placed between consonant intervals. It is a commonplace of musicology to say that harmony, in the sense of a developed system of composition, in which many tones at once contribute to the listener's expectation of resolution, was invented in the European Middle Ages and that ancient cultures had no developed system of harmony—that is, for example, playing the third and seventh above the dominant, in order to create the expectation for the listener that the tritone will resolve to the third.
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From the outset the Annotations took a commanding place, especially among continental scholars, establishing a scholarly tradition for English nonconformity. Tomkins notes that 'as late as 1866, W.S. Plumer’s commentary on Psalms cited Ainsworth as an authority more than a hundred times and the 1885 (English) Revised Version of the Bible drew on his work.' His publication of Psalms, The Book of Psalmes: Englished both in Prose and Metre with Annotations (Amsterdam, 1612), which includes thirty-nine separate monophonic psalm tunes, constituted the Ainsworth Psalter, the only book of music brought to New England in 1620 by the Pilgrim settlers. Although its content was later reworked into the Bay Psalm Book, it had an important influence on the early development of American psalmody. An early critic of the Brownists said that ‘by the uncouth and strange translation and metre used in them, the congregation was made a laughing stock’, while the 1885 Dictionary of National Biography said that Ainsworth ‘had not the faintest breath of poetical inspiration’.
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Anthology is the 13th album by Ensemble Renaissance, released in 1997 on the Al Segno label in Germany. The double disc is the greatest hits compilation of the Medieval and Renaissance music; the material on this Anthology are remasters from Ensemble's LPs Greatest Hits 3, Mon amy, Hommage а l'amour. The first disc Hommage a l'amour is a collection of the European Medieval music, beginning with goliard tunes from the codices Carmina Burana and Cambridge Songs, trouvere and minnesanger songs, Spanish monophonic songs from the Cantigas de Santa Maria and polyphonic songs from the Llibre Vermell de Montserrat, traveler's dances from the Balkan, England, France, and especially Italian Trecento dances from the famous London manuscript 29987. The second disc Mon amy is dedicated to the friendly atmosphere of the Renaissance music with works from the Cancionero de Palacio, dance collections by Tielman Susato, Claude Gervaise, Michael Praetorius, Italian renaissance madrigals and tunes, and also music of the Elizabethan epoch and Shakespeare's theatre, including John Dowland.
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If the wires for a pair of speakers are not connected with respect to the proper electrical polarity (the + and − connections on the speaker and amplifier should be connected + to + and − to −; speaker cable is almost always marked so that one conductor of a pair can be distinguished from the other, even if it has run under or behind things in its run from amplifier to speaker location), the loudspeakers are said to be "out of phase" or more properly "out of polarity". Given identical signals, motion in one cone is in the opposite direction of the other. This typically causes monophonic material in a stereo recording to be canceled out, reduced in level, and made more difficult to localize, all due to destructive interference of the sound waves. The cancellation effect is most noticeable at frequencies where the loudspeakers are separated by a quarter wavelength or less; low frequencies are affected the most.
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The main drawback of the Mono/Poly is that the 4 VCOs share one common VCA and VCF envelope, like all the knobby monophonic synthesizers like MiniMoog, but there are triggering and auto-dampering switches to compensate for the envelope sharing. This synth was not so much designed to be a polysynth like its sister the Polysix (which was manufactured at the same time), but more of an experimental synth with different footages and waveshapes per oscillator. The Mono/Poly also did not include a digital memory like its sister the Polysix, because its focus was again on experimentation. Other drawbacks are the chipboard construction on the base and sides of the unit, which tend to get damaged easily or allow screws to come out, and the rubber contacts under the keyboard, which tend to wear over time resulting in dead keys; this may be fixed with a little cleaning and/or obtaining a new rubber strip, as Mono/Polys are fairly easy to disassemble.
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The Black Death was one of the most traumatic events in European history, and the renewed desperation of the people, hopeful for divine intervention to end their sufferings, brought about a return of the flagellants and the Geisslerlieder. Unlike the situation with the first outbreak, much of the music was preserved. A single priest, Hugo Spechtshart of Reutlingen, who happened to be a capable musician, was impressed by the activity he witnessed, and transcribed exactly what he heard of the singing of the flagellants; indeed his work was one of the earliest examples of folk-song collection. He produced a chronicle of what he heard in the Chronicon Hugonis sacerdotis de Rutelinga (1349), and the content corresponded closely to the description of the lost music from a hundred years before: simple monophonic songs of verse and refrain, with a leader singing the verse and the group of flagellants singing the refrain in unison.
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Katz's ethnomusicological work focuses on folk music in Israel – Palestinian Arab folk singing, music of the different Jewish communities, and the Israeli composed "folksong" – this, too, with the aim of unveiling the constituting ideational components –be they universal-cognitive patterns or culture-specific schemes. Part of these studies was conducted in collaboration with Dalia Cohen, with whom Katz founded, in the 1950s, the Laboratory for Analysis of Vocal Information at the Hebrew University of Jerusalem, and led jointly, producing influential methodological and theoretical breakthroughs. A turning point in Katz & Cohen's laboratory work was the development (in the mid 1950s) of the first model of the "Jerusalem melograph","Melograph", Grove Music Online. an electronic apparatus transcribing orally-transmitted monophonic music as a continuous graph representing changes in pitch and loundness over time, thereby providing information that is not only precise but also independent of cultural, stylistic, and notational conventions concerning three out of the four psycho- acoustic parameters (pitch, duration and loudness; timbre was added later).
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With the Patch 2000 in mind, the American synthesizer company Steiner-Parker (Steiner Synthesizers) developed and sold the Microcon, a small size synthesizer without a keyboard, with many facilities of a "big" synthesizer. The guitar was tried by a test-panel which included Mick Box (Uriah Heep), Bob Welch and John McVie who commented on its monophonic nature, saying "It had very clear solo sounds, but the fact is that you couldn't use chords, which is an integral part of your music...you can only use it just for solos." He supposedly also claimed that this was very convenient, as you could play it using only your left hand, which allowed you to drink beer with your free hand. A total of 498 right hand models were produced from 1976 to 1979, with the vast majority being sold to Leo's Music, Don Weir and Guitar Center in the Bay Area and Los Angeles.
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Walt Disney Records, the flagship record label of the group, was founded in 1956 as Disneyland Records, so that Disney would not have to release through third-party labels not associated with the studio, such as RCA Victor or Capitol Records, which had issued Disney albums in the past. Under the Disneyland label, among its other recordings, the studio also released new soundtrack LP's of some of the animated Disney films, including, a 3-LP album set in monophonic sound of all of the classical music heard in Fantasia, perhaps the first soundtrack album containing virtually all the music from a feature-length film. (The "Meet the Soundtrack" intermission segment and the jam session were not included, and Deems Taylor's commentary was also omitted.) Disneyland Records released cover versions (rather than soundtracks) of the songs from some of the other animated films, such as Lady and the Tramp. In 1989, the label was renamed to its current branding and now releases a broad range of Disney-branded music, such as soundtracks to Walt Disney Pictures' films, original studio albums from Disney Channel artists, compilations albums by Radio Disney, and soundtracks to the Star Wars films.
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A musicologist, disciple and collaborator of Dom Prosper Guéranger, Dom Pothier contributed to the reconstitution, the restoration and the renewal of the Gregorian chant, a form of monophonic, unaccompanied sacred song of the Roman Catholic Church. Besides being the composer of many Gregorian songs (Officium Defunctorum, 1887) and the writer of a huge number of articles, Dom Pothier was also the head and editor of the Revue du Chant Grégorien (1892–1914) - supervising the publication of several works (Hymnes, Christmas office, Antifonario, Cantus mariales) -, the founder of the Paléographie Musicale publication for the dissemination of medieval liturgical manuscripts, and the author of a new edition of the choir books based on manuscripts of the Gregorian chant and of several studies on the plainchant, including Les mélodies grégoriennes d'après la tradition (Gregorian Melodies According to the Tradition), 1880, his chief work which became the standard work on the subject. Dom Pothier was appointed president of the newly created Pontifical Commission on the Vatican Edition of the Gregorian Liturgical Books by Pope Pius X in 1904. As chairman of this commission for the reconstitution of the music of the Roman Catholic Mass, Dom Pothier lived in Rome from 1904 till 1913.
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Today, the MC-2300 remains a very sought-after amplifier for audiophiles and collectors. In terms of McIntosh "family lineage" or production order, the MC-2300 was immediately preceded by the MC-2105 (with blue meters) and the MC-2100 (without), which were both 100 watt-per-channel stereo amps (200 watts monophonic) sold between 1969 and 1977. Before these came the MC-2505 (blue meters) made between 1967 and 1977, and the meterless but popular MC-250 sold from 1967 to 1979, both of which were 50 WPC stereo amplifiers (100 watts mono.) The MC-2300 was succeeded by the even more powerful MC-2500 (500 WPC stereo/1000 watts mono), sold from 1980 to 1990; and then the MC-2600 (600 WPC stereo/1200 watts mono), which was available between the years 1990–1995. Several specially-modified versions of the MC-2300 were produced by McIntosh for the United States Navy (with 6, 25, 30, 64, 120, 182, and 256 ohm outputs), for defense contractor Sanders Associates, and for acoustical consulting company Bolt, Beranek and Newman (the MC-2300E, with 50, 100, 200, and 400 ohm outputs).
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MPEG-1 Audio Layer 2 encoding was derived from the MUSICAM (Masking pattern adapted Universal Subband Integrated Coding And Multiplexing) audio codec, developed by Centre commun d'études de télévision et télécommunications (CCETT), Philips, and the Institut für Rundfunktechnik (IRT) in 1989 as part of the EUREKA 147 pan-European inter- governmental research and development initiative for the development of a system for the broadcasting of audio and data to fixed, portable or mobile receivers (established in 1987). It began as the Digital Audio Broadcast (DAB) project managed by Egon Meier-Engelen of the Deutsche Forschungs- und Versuchsanstalt für Luft- und Raumfahrt (later on called Deutsches Zentrum für Luft- und Raumfahrt, German Aerospace Center) in Germany. The European Community financed this project, commonly known as EU-147, from 1987 to 1994 as a part of the EUREKA research program. The Eureka 147 System comprised three main elements: MUSICAM Audio Coding (Masking pattern Universal Sub-band Integrated Coding And Multiplexing), Transmission Coding & Multiplexing and COFDM Modulation. MUSICAM was one of the few codecs able to achieve high audio quality at bit rates in the range of 64 to 192 kbit/s per monophonic channel.
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In 1952, Emory Cook (1913–2002), who already had become famous by designing new feedback disk-cutter heads to improve sound from tape to vinyl, took the two- channel high-fidelity system described above and developed a somewhat misnamed "binaural" record out of it, which consisted of the same two separate channels cut into two separate groups of grooves running next to each other as described above, i.e. one running from the edge of the disc to halfway through and the other starting at the halfway point and ending up towards the label, but he used two lateral grooves with a 500 Hz crossover in the inner track to try and compensate for the lower fidelity and high frequency distortion on the inner track. Each groove needed its own monophonic needle and cartridge on its own branch of tonearm, and each needle was connected to a separate amplifier and speaker. This setup was intended to give a demonstration at a New York audio fair of Cook's cutter heads rather than to sell the record; but soon afterward, the demand for such recordings and the equipment to play it grew, and Cook Records began to produce such records commercially.
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The Mellotron, an electro-mechanical, polyphonic sample-playback keyboard, which used a bank of parallel linear magnetic audio tape strips to produce a variety of sounds enjoyed popularity from the mid-1960s.R. Brice, Music Engineering (Oxford: Newnes, 2nd edn., 2001), , pp. 108-9. The initial popularity of the Mellotron would be overtaken by the Moog synthesizer, created by Robert Moog in 1964, which produced completely electronically generated sounds which could be manipulated by pitch and frequency, allowing the "bending" of notes and considerable variety and musical virtuosity to be expressed. The early commercial Moog synthesiser was large and difficult to manipulate, but in 1970 Moog responded to its use in rock and pop music by releasing the portable Mini-moog, which was much simpler, easier to use, and proved more practical for live performance.T. Pinch and F. Trocco, Analog Days: The Invention and Impact of the Moog Synthesizer (Cambridge, MA: Harvard University Press, 2004), , pp. 214-36. Early synthesisers were monophonic (only able to play one note at a time), but polyphonic versions began to be produced from the mid-1970s, among the first being the Prophet-5.Barry R. Parker, Good Vibrations: the Physics of Music (Boston MD: JHU Press, 2009), , p. 213.
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