The legacy of the first electronic instruments: memories of the past applied in today’s technology
The first electronic instruments from the 20s to 30s, like the Theremin, Trautonium and Ondes Martenot, were capable of varying degrees of expression. Mostly regarding free control of dynamics, pitch and timbre using a gestural performance. Although highly sought at the time, their importance dwindled and left only a mark in the field of electronic instruments, the generation of sound via an electronic apparatus.
With the advent of a second generation of analogue synthesis in the 70s we had famous contributions from Bob Moog and Don Buchla (East Coast and West Coast synthesizers) which led to the first digital controlled synthesizers (Prophet from Sequential) and the creation of the MIDI protocol with Dave Smith (1981). The evolution continued to fully digital synths that were mass produced by big Japanese companies, like the Yamaha DX7 — a consequence of the FM synthesis of John Chowning (1967). Nevertheless, something was forgotten from the 20s and 30s. The gestural control of all the parameters, specially regarding dynamics, pitch, timbre, all at the same time. The keyboard was the weapon of choice used by many companies for obvious reasons like marketing, ease of construction and approach to playing the synths. So, due to the mechanical working of a keyboard, gestural performance wasn’t intended. The only exception was Don Buchla that, besides West Coast flavour (Wavefolding synthesis) different from the East Coast of Moog (Subtracted synthesis), introduced some other means of tactile expression — like the Thunder control surface in 1989.
In the past few years there have been some synthesizer companies that developed gestural performance control reminiscent of the first synthesizers, like Expressive E, Roli, Roger Linn and Haken Audio leading the fray. This presentation will show how these companies applied the same gestural performance control from the past and implemented their intricacies on their new products, paving the way to the advent of MPE (MIDI Polyphonic Expression) and MIDI 2.0.
Keywords: synthesizers, MPE, MIDI 2.0, gestural performance
Cláudio de Pina (1977-) is a sound artist, organist and composer. He is the titular organist of the historical organ of the Parish Church of Ajuda. Integrated researcher in the Contemporary Music Research Group (CESEM, FCSH-UNL). He holds a PhD in Musical Arts, a DAS (FCSH/ESML) has a research fellow for FCT, I.P, and a Master’s Degree in Musical Arts (FCSH). He studied at the Gregorian Institute of Lisbon, Hot Jazz Club and Physics Engineering (FC-UL). He dedicates his artistic output as an organist of music of the second half of the 20th century and as a composer of electroacoustic music. His academic research focus on musical analysis, composition, acoustics, spacialization and musical performance. His discography includes Asteroeidēs (2020), Palimpsestus (2020), Avant-garde Organ (GDA, 2022) and Aether Ventus (2023).
CESEM, Portugal – klaudiopina@gmail.com