| Music synthesizer, also called ELECTRONIC SOUND | | | | Buchla and Syn-Ket, the last approximately the size of |
| SYNTHESIZER, highly complex and flexible | | | | an upright piano, Many newer synthesizers have |
| computerized instrument used specifically for the | | | | keyboards or some modification of traditional |
| composition of electronic music. Thesynthesizer, like | | | | performing mechanisms. The Syn-Ket has two |
| the digital computer, accepts coded data from the | | | | three-octave keyboards. Compositions for it include the |
| composer, processes it, and translates the data into | | | | Microtonal Fantasy recorded in 1968 by |
| sound. The information fed to the synthesizer is coded | | | | composer-pianist John Eaton, The Moog III, developed |
| on a punched paper tape, which is then subjected to | | | | by the U.S. physicist Robert Moog, has two |
| the functions of thousands of sound-generating | | | | five-octave keyboards that control voltage changes |
| devices, such as oscillators, circuits, and vacuum filters, | | | | (and thus pitch, timbre, attack, decay of tone, and other |
| that are capable of producing effects far beyond the | | | | aspects of sound), allowing the composer an almost |
| range and versatility of conventional musical | | | | infinite variety of tonal control. A no. table use of the |
| instruments. The intricate apparatus of the synthesizer | | | | Moog is in Alwin Nikolais’ television ballet The Relay. |
| generates simple wave forms and then subjects them | | | | The Buchia synthesizer, developed by the U.S. scientist |
| to alteration in intensity, duration, frequency, and timbre, | | | | Donald Buchla, is activated by a “keyboard” that |
| as programmed by thecomposer. The aural product is | | | | is a touch-sensitive metal plate without movable keys, |
| usually recorded on magnetic tape, to be played back, | | | | comparable to a violin fingerboard. It has been used in |
| edited, or modified as desired. The first electronic | | | | such works as Morton Subotnick’s Silver Apples of |
| sound synthesizer was developed by U.S. acoustical | | | | the Moon (1967) and The Wild Bull (1968). The above |
| engineers Harry Olson and Herbert Belar in 1955 at the | | | | small synthesizers use subtractive |
| Radio Corporation of America (RCA) laboratories at | | | | synthesis—removing unwanted components from a |
| Princeton, N.J. Designed for research into the | | | | signal containing a fundamental tone and all related |
| properties of sound, it attracted composers seeking to | | | | overtones (sawtooth-wave signals). The harmonic |
| extend the range of available sound or to achieve total | | | | tone generator developed by James Beauchamp at |
| control of their music (because no performer is | | | | the University of Illinois, in contrast, uses additive |
| necessary). The earliest synthesizer was an | | | | synthesis— building tones from signals for pure tones; |
| instrument of awesome dimensions. During the 1960s | | | | i.e., without overtones (sine-wave signals)— and |
| synthesizers of more compact design were produced; | | | | offers certain advantages in the nuances of tone |
| first the Moog, and, soon after, others, including the | | | | colours produced. |