The idea to write an article under that title did not arise from idleness and not by chance at all, but as an urgent need for a precise and clear definition of the extremely important in my opinion musicological term, due to the lack of which serious problems and difficulties are already beginning to arise in modern cultural discourse communicative and semantic in nature …
SO WHAT IS THIS SUCH – “SIMPO-ELECTRONIC MUSIC”?
Electronic music is music, the creation of which uses electronic musical instruments and technologies. Electronic music consists of sounds that are formed using electronic technologies and electromechanical musical instruments. Examples of electromechanical musical instruments include tellarmonium, a Hammond organ, and an electric guitar. Pure electronic sound is obtained using instruments such as theremin, synthesizer and computer. Continue reading
We all know synthesizers, which are “electronic pianos” with many special effects and functions.
The whole charm of the synthesizer lies in the fact that it can autonomously act as a musical instrument, providing good sound from almost any timbre.
There are also disadvantages, the main of which is the relatively high cost of a good synthesizer and its significant dimensions.
The MIDI keyboard is deprived of this minus. it costs less and extensibility is better …
MIDI keyboards are, in fact, simplified versions of synthesizers that do not have built-in sounds, additional functions and effects.
In this case, the functionality and implementation of special effects is assigned to a personal computer. Continue reading
Impressionism (French: impressionnisme, from impression – impression), the direction in art of the last third of the XIX – beginning of XX centuries.
The application of the term “impressionism” to music is largely arbitrary – musical impressionism does not constitute a direct analogy to impressionism in painting and does not coincide chronologically with it (its heyday was the 90s of the 19th century and the 1st decade of the 20th century).
Impressionism arose in France when a group of artists – C. Monet, C. Pissarro, A. Sis-lei, E. Degas, O. Renoir and others – made their original paintings at Parisian exhibitions of the 70s. Their art sharply differed from the smooth and faceless works of the then academic painters: the Impressionists came out of the walls of the workshops into the free air, learned to reproduce the play of living colors of nature, the sparkle of sunlight, the colorful highlights on the moving river surface, the motley color of the festive crowd. The painters used a special technique of runaway stains, smears, which seemed disordered near, and at a distance gave rise to a real feeling of a lively play of colors, bizarre overflows of light. Continue reading