Anticipating interactivity: Henry Cowell and the Rhythmicon

Margaret Schedel

doi:10.1017/s1355771802003047

Anticipating interactivity: Henry Cowell and the Rhythmicon

Organised Sound ◽

10.1017/s1355771802003047 ◽

2002 ◽

Vol 7 (3) ◽

pp. 247-254

Author(s):

Margaret Schedel

Keyword(s):

Computer Music ◽

Electronic Music ◽

Musical Instrument ◽

Electronic Instrument ◽

Interactive Music ◽

The Road ◽

Henry Cowell ◽

On The Road

In the early 1930s, maverick composer Henry Cowell collaborated with inventor Leon Theremin to build an electronic instrument capable of producing intricate polyrhythms. This instrument, dubbed the Rhythmicon, can be considered a rudimentary example of an interactive music system. Cowell and Theremin created the machine to fulfil a compositional need, but it ultimately failed to become a successful musical instrument. The Rhythmicon was one of the first electronic music instruments to use technology to extend performers' musical capacities, anticipating the interactive computer music movement by several decades. Despite its shortcomings, the Rhythmicon should be remembered as an important step on the road to interactivity.

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Sanlele ‘Jumping’ on the Road of Glocalization: Sounds of Okinawa Tropical Champuru Culture and the World Youth Uchinanchu

10.30819/5319.03 ◽

2021 ◽

pp. 35-52

Author(s):

Huang Wan

Keyword(s):

Musical Instrument ◽

Direct Connection ◽

The Road ◽

The World ◽

On The Road ◽

Aesthetic Preferences

Sanlele, a three-stringed musical instrument emerged in 2004 in Okinawa, is a hybrid musical instrument in-between Hawaiian ukulele and Okinawan sanshin. San, means three, comes from Okinawan sanshin. The term ‘lele’, means jumping, has a direct connection with Hawaiian ukulele. If this is true, the sanlele thus can be understood literally as ‘jumping sanshin’. During the process of hybridizing, the sanlele developed at least four versions, reflecting everchanging aesthetic preferences by musical instrument makers. This paper bases on regular fieldwork made since 2018. It argues that if taking performer into consideration, it is clearly to see that sanlele’s meaning is flexibly constructed and invoked in any performance. Through ‘switched meanings’ in performance, the sanlele switches on or off a connection with Okinawa and Hawaii. There are several backgrounds contributing to its ‘jumping’ on the road of ‘glocalization’ (R. Robertson 1995), including the Okinawan unique tropical champuru cultural spirit, the Worldwide Youth Uchinanchu Festival, and oversea Uchinanchu’s identity rethinking on the road of a ‘transnational homing’(Katie Walsh 2006). To make, to play, and to listen to the sanlele, can be a chance for musical instrument makers, performers, and people who use it to open up in dialogues with histories and cultures of Okinawa, Hawaii, and beyond.

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