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Chris Watson, one of the world's leading recorders of wildlife and natural phenomena, collaborates with Soniccouture to create a truly organic soundscape instrument.
An Atmospheric Chinese Zither instrument dating back to 200 B. A detailed instrument with 10 velocity layers and 3 round robin layers per note.This project defines ‘Electronic Musical Instrument’ as an instruments that generate sounds from a purely electronic source rather than electro-mechanically or electro-acoustically (However the boundaries of this definition do become blurred with, say, Tone Wheel Generators and tape manipulation of the Musique Concrète era).The focus of this project is in exploring the main themes of electronic instrument design and development previous to 1970 (and therefore isn’t intended as an exhaustive list of recent commercial synthesisers or software packages.) As well as creating a free, encyclopaedic, pedagogical resource on the History of Electronic Music (and an interesting list for Synthesiser Geeks) my main interest is to expose and explore musical, cultural and political narratives within the historical structure and to analyse the successes and failures of the electronic music ‘project’, for example; The ideas put forward in Ferrucio Busoni’s ‘Sketch of a New Aesthetic of Music’ (1907) inspired a generation of composers to explore micro-tonal and varied intonation and Hermann von Helmholtz’s ‘On the Sensations of Tone’ (1863) provided an understanding of the physics of sound suggesting the possibility of creating an unlimited palette of tones and shapes beyond the restriction of traditional instrumentation.Again, this avant-garde movement was finally suppressed in favour of conservative fascist popular culture during the late 1930s.’120 Years Of Electronic Music’ is an ongoing web project initiated in 1995 by the author and musician [email protected]