Moog

Abstract: Foreword by Robert Moog Preface Introduction: Sculpting Sound 1. Subterranean Homesick Blues 2. Buchla's Box 3. Shaping the Synthesizer 4. The Funky Factory in Trumansburg 5. Haight-Asbury's Psychedelic Sound 6. An Odd Couple in the Summer of Love 7. Switched-On Bach 8. In Love with a Machine 9. Music of My Mind 10. Live! 11. Hard-Wired-the Minimoog 12. Inventing the Market 13. Close Encounters with the ARP 14. From Daleks to the Dark Side of the Moon Conclusion: Performance Discography Sources Notes Glossary Index

Abstract: A blockchain application is a peer-to-peer system for validating, time-stamping and permanently storing transactions and agreements on a shared ledger that is distributed to all participating nodes.3 Bitcoin was the original blockchain, described by Satoshi Nakamoto in a 2008 white paper.4 The Bitcoin application was coded—presumably by Nakamoto—and went live in January 2009. Since then, many traditional enterprises as well as startups have been exploring the possibility of adapting Bitcoin’s blockchain technology for business applications. Blockchain applications potentially offer several advantages compared to centrally controlled applications. Specifically, blockchain applications promise a significant amount of business value, including transacting directly with trading partners, eliminating the need for reconciliations, instantly tracking and tracing assets, providing data provenance, settling transactions quickly and cheaply, and enabling a security model that is fault tolerant, resilient and available. (Appendix A describes the advantages of blockchain applications.) In the words of Antony Lewis, founder of Bits on Blockchain, in essence, “distributed ledgers ‘confirm as you go’ rather than ‘confirm after the fact’.”5

Abstract: Interactive composing is the name I have given to a method for using performable, real-time computer music systems in composing and performing music. The concept of interactive composing has grown in my work since 1967, at which time I proposed the design for a sequencer-programmable analog synthesis system, subsequently built by the R. A. Moog Co. and installed in the Electronic Music Studio at State University of New York at Albany in December 1969. That system's special capability in automating controls made possible the techniques that led to several compositions, in particular Ideas of Movement at Bolton Landing (1971) (Chadabe 1972), which involved the control of timbre and rhythm interactively with automated controls generated by sequencers, and Echoes (1972) (Chadabe 1975; 1977), in which the sounds performed by an instrumentalist are delayed for a few seconds, then transformed by a sound-processing system, then distributed to various loudspeakers. The transformed sounds appear as distant echoes to which the performer reacts in deciding how to play the next notes.