THE NEW TECHNOLOGY SPREADS
Tape music came to America somewhat by accident. Vladimir Ussachevsky (1911–90), then an instructor in music at Columbia University, obtained a grant in 1951 to purchase a pair of Ampex tape recorders on behalf of the department for recording “Composers Forum” concerts on campus for library preservation. The tape recorders and microphones were stored between concerts at Ussachevsky's home or in his office, and he began amusing himself by recording and transforming the sounds of his own piano playing, eventually with the help of an engineer from the university radio station, who created a device for obtaining and controlling “feedback,” a type of mechanical reverberation produced by feeding the output of a tape playback into the same tape recorder's recording head.
- Citation (MLA):
- Richard Taruskin. "Chapter 4 The Third Revolution." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 9 Dec. 2016. <http://www.oxfordwesternmusic.com/view/Volume5/actrade-9780195384857-div1-004007.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 4 The Third Revolution. In Oxford University Press, Music in the Late Twentieth Century. New York, USA. Retrieved 9 Dec. 2016, from http://www.oxfordwesternmusic.com/view/Volume5/actrade-9780195384857-div1-004007.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 4 The Third Revolution." In Music in the Late Twentieth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 9 Dec. 2016, from http://www.oxfordwesternmusic.com/view/Volume5/actrade-9780195384857-div1-004007.xml