The Acme siren is a musical instrument used in concert bands for comic effect. Often used in cartoons, it produces the stylized sound of a police siren. It is one of the few aerophones in the percussion section of an orchestra.
The instrument is typically made of metal and is cylindrical. Inside the cylinder is a type of fan-blade which, when the performer blows through one end, spins and creates the sound. The faster the performer blows, the faster the fan-blade moves and the higher the pitch the instrument creates. Conversely, the slower the performer blows, the lower the pitch. [1]
Iannis Xenakis used it in the 1960s in his works Oresteia, Terretektorh, and Persephassa . [2] A siren was used in Bob Dylan's classic album, Highway 61 Revisited . One is also heard in Stevie Wonder's song "Sir Duke" just before the second chorus.
Acme is the trade name of J Hudson & Co of Birmingham, England, who developed and patented the Acme siren in 1895. It was sometimes known as "the cyclist's road clearer". [3]
Aleatoricmusic is music in which some element of the composition is left to chance, and/or some primary element of a composed work's realization is left to the determination of its performer(s). The term is most often associated with procedures in which the chance element involves a relatively limited number of possibilities.
Olivier Eugène Prosper Charles Messiaen was a French composer, organist, and ornithologist who was one of the major composers of the 20th century. His music is rhythmically complex. Harmonically and melodically, he employed a system he called modes of limited transposition, which he abstracted from the systems of material his early compositions and improvisations generated. He wrote music for chamber ensembles and orchestra, voice, solo organ, and piano, and experimented with the use of novel electronic instruments developed in Europe during his lifetime.
Giannis Klearchou Xenakis was a Romanian-born Greek-French avant-garde composer, music theorist, architect, performance director and engineer.
The xylorimba is a pitched percussion instrument similar to an extended-range xylophone with a range identical to some 5-octave celestas or 5-octave marimbas, though typically an octave higher than the latter. Despite its name, it is not a combination of a xylophone and a marimba; its name has been a source of confusion, as many composers have called for a 'xylorimba', including Alban Berg, Pierre Boulez and Olivier Messiaen, but for parts requiring only a four-octave xylophone. However, Pierre Boulez wrote for two five-octave xylorimbas in Pli selon pli.
In music, montage or sound collage is a technique where newly branded sound objects or compositions, including songs, are created from collage, also known as Musique concrète. This is often done through the use of sampling, while some sound collages are produced by gluing together sectors of different vinyl records. Like its visual cousin, sound collage works may have a completely different effect than that of the component parts, even if the original parts are recognizable or from a single source. Audio collage was a feature of the audio art of John Cage, Fluxus, postmodern hip-hop and postconceptual digital art.
In music, modernism is an aesthetic stance underlying the period of change and development in musical language that occurred around the turn of the 20th century, a period of diverse reactions in challenging and reinterpreting older categories of music, innovations that led to new ways of organizing and approaching harmonic, melodic, sonic, and rhythmic aspects of music, and changes in aesthetic worldviews in close relation to the larger identifiable period of modernism in the arts of the time. The operative word most associated with it is "innovation". Its leading feature is a "linguistic plurality", which is to say that no one music genre ever assumed a dominant position.
Inherent within musical modernism is the conviction that music is not a static phenomenon defined by timeless truths and classical principles, but rather something which is intrinsically historical and developmental. While belief in musical progress or in the principle of innovation is not new or unique to modernism, such values are particularly important within modernist aesthetic stances.
Metastaseis is an orchestral work for 61 musicians by Iannis Xenakis. His first major work, it was written in 1953–54 after his studies with Olivier Messiaen and is about 8 minutes in length. The work was premiered at the 1955 Donaueschingen Festival with Hans Rosbaud conducting. This work was originally a part of a Xenakis trilogy titled Anastenaria but was detached by Xenakis for separate performance.
The wind machine is a friction idiophone used to produce the sound of wind for orchestral compositions and musical theater productions.
Julio Estrada Velasco is a composer, theoretician, historian, pedagogue, and interpreter.
Asko|Schönberg is a Dutch chamber orchestra that specialises in contemporary classical music, especially that of the 21st century. It was formed by a merger of the Asko Ensemble and the Schönberg Ensemble in 2009.
Evryali is a piece for solo piano composed by Iannis Xenakis in 1973. It is based on a technique Xenakis invented in early 1970s, called arborescences—proliferations of melodic lines created from a generative contour. The title refers to the name of one of the Gorgon sisters, and is also Greek for open sea.
OHM: The Early Gurus of Electronic Music is a compilation of early electronic music and excerpts from 1948 to 1980. Many works are essentially experiments with sound, using a variety of non-traditional instruments including homemade circuits, tape ribbon, and early synthesisers.
Anastenaria is a triptych cycle of compositions for SATB chorus, male chorus and orchestra by Greek composer Iannis Xenakis. It is, also, one of his most successful early compositions. The three movements of this cycle were composed between 1952 and 1954.
Quatre Études de rythme is a set of four piano compositions by Olivier Messiaen, written in 1949 and 1950. A performance of them lasts between 15 and 20 minutes.
Komboï is a 1981 stochastic composition for amplified harpsichord and percussion by Greek composer Iannis Xenakis. It is one of the two compositions for harpsichord and percussion written by Xenakis, the other one being Oophaa.
Antikhthon is a ballet for orchestra composed by Iannis Xenakis in 1971.
Claude Samuel was a French music critic and radio personality.
Okho is a composition for three percussionists by Iannis Xenakis completed in 1989.
Oophaa is a composition for amplified harpsichord and percussion by Iannis Xenakis, finished in 1989.
Eonta is a composition for piano, two trumpets, and three tenor trombones by Iannis Xenakis. It was written in 1963–64, and was premiered on December 16, 1964, by the Ensemble du Domaine Musical, with Yuji Takahashi on piano and Pierre Boulez conducting. Its duration is approximately 18 minutes.