James Tenney (1934) - composer and music theorist. He made significant contributions to plunderphonics, sound synthesis, algorithmic composition, process music, spectral music, microtonal music, and tuning systems. He studied composition with Chou Wen-chung, Lionel Nowak, Paul Boepple, Henry Brant, Carl Ruggles, Kenneth Gaburo, John Cage, Harry Partch, and Edgard Varèse. He also studied acoustics, information theory and tape music composition under Lejaren Hiller.
Composed in 1988, Critical Band demands from the performers an incredible level of intonational accuracy and consistency in its exploration of the way the human ear responds to sustained sounds.
"...The aim of Tenney's Critical Band is to explore this phenomenon through a musical practice — in fact, one of the most familiar: the ensemble tune-up on A440 (versions of the piece related to other generative pitches exist as well). The piece centers around a simple tuning A, which is sustained by the player and kept unbroken through the use of a digital or tape delay system. Over the course of the 18-minute work other pitches slowly emerge, diverging from the original A by increasingly larger intervals; the most narrow intervals cause only an undulation of the main perceived pitch, but as the range of frequencies widens all sorts of acoustical by-products, including high, whistling combination tones or humming difference tones, emerge from the composite frequencies. Tenney thus transgresses the boundary between normally discrete pitches, and opens our ears to the surprisingly active universe of sounds that can exist within a seemingly static field of sustained tones..." (Jeremy Grimshaw)
Composed in 1988, Critical Band demands from the performers an incredible level of intonational accuracy and consistency in its exploration of the way the human ear responds to sustained sounds.
"...The aim of Tenney's Critical Band is to explore this phenomenon through a musical practice — in fact, one of the most familiar: the ensemble tune-up on A440 (versions of the piece related to other generative pitches exist as well). The piece centers around a simple tuning A, which is sustained by the player and kept unbroken through the use of a digital or tape delay system. Over the course of the 18-minute work other pitches slowly emerge, diverging from the original A by increasingly larger intervals; the most narrow intervals cause only an undulation of the main perceived pitch, but as the range of frequencies widens all sorts of acoustical by-products, including high, whistling combination tones or humming difference tones, emerge from the composite frequencies. Tenney thus transgresses the boundary between normally discrete pitches, and opens our ears to the surprisingly active universe of sounds that can exist within a seemingly static field of sustained tones..." (Jeremy Grimshaw)
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