Rôle des universités
1. Formation (cours, workshops) 2. Création (travail dans le studio)
3. Diffusion (concerts, colloques)
Trois phases
1. Les pionniers (1954-1970)
2. La consolidation (1970-1980)
3. L'affirmation (1980 -2000)
Universités Anglophones
1. University of Toronto (1959) 2. McGill University (1964)
3. University of British Columbia (1965)
4. Toronto Royal Conservatory of Music (1966) 5. Simon Fraser University (1967)
6. Ontario College of Education (1968)
Dotation de l'Electronic Music Studio McGill University
- Oscillator Bank (OB) consisted of 24 wave generators (sine, square, pulse and sawtooth waves) controlled by a touch sensitive keyboard.
- Tone Mixture Generator (TMG): consisted of 13 sine tone generators, each equipped with pitch and amplitude controls.
- Filter Bank (FB): octave filters. These filters could be used in series or in parallel: each had eight adjustable band-pass filters. The individual or multiple outputs could then go to the Serial Structured Sound Generator (SSSG), or the Multi-Track Tape Recorder (MTTR) for further treatment.
- Voltage Controlled Filter (VCF): had a HI-Pass, LO-Pass filter, controllable by voltage.
- Multi-Track Tape Recorder (MTTR) The user could control a mix of 12 different recorded sound sources. A keyboard controller was attached to the unit,but solely for speed variation control. The unit could be set at 7 1/2 ips or 15 ips, with the range for speed variation one octave below or above the set speed. The MTTR had a built in mixer, and also stereo spring reverb of a very high quality.
- Serial Sound Structure Generator (SSSG): Based on the ‘serial switch’ concept used in early automatic telephone switchboards. Separate modules stored sequences applied to four musical aspects of sound events: duration, pitch, envelope and timbre.
Voltage control could be applied to pitch, to harmonic content (i.e. controlling a wave rich in harmonics, say a square wave), or to the production of glides from one pitch to the next.
