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<title>John Chowning</title>

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<span id="openzim-page-title" class="mw-page-title-main"><span class="mw-page-title-main">John Chowning</span></span>

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</style><table class="infobox biography vcard"><tbody><tr><th colspan="2" class="infobox-above" style="font-size:125%;"><div class="fn">John Chowning</div></th></tr><tr><td colspan="2" class="infobox-image"></td></tr><tr><th scope="row" class="infobox-label">Born</th><td class="infobox-data"><div style="display:inline" class="nickname">John M. Chowning</div><br><span style="display:none"> (<span class="bday">1934-08-22</span>) </span>August 22, 1934<br><div style="display:inline" class="birthplace"><a href="Salem%2C_New_Jersey" title="Salem, New Jersey">Salem, New Jersey</a>, U.S.</div></td></tr><tr><th scope="row" class="infobox-label">Nationality</th><td class="infobox-data category">American</td></tr><tr><th scope="row" class="infobox-label">Alma mater</th><td class="infobox-data"><a href="Stanford_University" title="Stanford University">Stanford University</a>, CCRMA</td></tr><tr><th scope="row" class="infobox-label">Occupation(s)</th><td class="infobox-data role">Composer<br>Musician<br>Inventor</td></tr></tbody></table>

<p><b>John M. Chowning</b> (<span class="rt-commentedText nowrap"><span class="IPA nopopups noexcerpt" lang="en-fonipa">/<span style="border-bottom:1px dotted"><span title="/ˈ/: primary stress follows">ˈ</span><span title="/tʃ/: 'ch' in 'China'">tʃ</span><span title="/aʊ/: 'ou' in 'mouth'">aʊ</span><span title="'n' in 'nigh'">n</span><span title="/ɪ/: 'i' in 'kit'">ɪ</span><span title="/ŋ/: 'ng' in 'sing'">ŋ</span></span>/</span></span>; born August 22, 1934, in <a href="Salem%2C_New_Jersey" title="Salem, New Jersey">Salem, New Jersey</a>) is an American composer, musician, discoverer, and professor best known for his work at <a href="Stanford_University" title="Stanford University">Stanford University</a>, the founding of <a href="Stanford_University_centers_and_institutes#Center_for_Computer_Research_in_Music_and_Acoustics" title="Stanford University centers and institutes">CCRMA – Center for Computer Research in Music and Acoustics</a> in 1975 and his development of the digital implementation of <a href="FM_synthesis" class="mw-redirect" title="FM synthesis">FM synthesis</a> and the digital sound spatialization while there.

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<div class="mw-heading mw-heading2"><h2 id="Contribution">Contribution</h2></div>

<p>Chowning is known for having developed the <a href="Frequency_modulation_synthesis" title="Frequency modulation synthesis">FM synthesis</a> algorithm in 1967.<sup id="cite_ref-FOOTNOTEJohnstone1994_1-0" class="reference"><a href="#cite_note-FOOTNOTEJohnstone1994-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTESchottstaedtn.d._2-0" class="reference"><a href="#cite_note-FOOTNOTESchottstaedtn.d.-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTEChowning1973_3-0" class="reference"><a href="#cite_note-FOOTNOTEChowning1973-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> In FM (<a href="Frequency_modulation" title="Frequency modulation">frequency modulation</a>) synthesis, both the <a href="Carrier_frequency" class="mw-redirect" title="Carrier frequency">carrier frequency</a> and the <a href="Modulation" class="mw-redirect" title="Modulation">modulation</a> frequency are within the audio band. In essence, the <a href="Amplitude" title="Amplitude">amplitude</a> and <a href="Frequency" title="Frequency">frequency</a> of one waveform modulates the frequency of another waveform producing a resultant waveform that can be periodic or non-periodic depending upon the ratio of the two frequencies.

</p><p>Chowning's breakthrough allowed for simple—in terms of process—yet rich sounding <a href="Timbre" title="Timbre">timbres</a>, which synthesized 'metal striking' or 'bell like' sounds, and which seemed incredibly similar to real percussion (Chowning was also a skilled percussionist). He spent six years turning his breakthrough into a system of musical importance and eventually was able to simulate a large number of musical sounds, including the singing voice. In 1974, <a href="Stanford_University" title="Stanford University">Stanford University</a> licensed the discovery to <a href="Yamaha_(manufacturer)" class="mw-redirect" title="Yamaha (manufacturer)">Yamaha</a>,<sup id="cite_ref-FOOTNOTEMattis2001_4-0" class="reference"><a href="#cite_note-FOOTNOTEMattis2001-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup> with whom Chowning worked in developing a family of <a href="Synthesizer" title="Synthesizer">synthesizers</a> and <a href="Electronic_organ" class="mw-redirect" title="Electronic organ">electronic organs</a>. This was Stanford's most lucrative patent at one time,<sup id="cite_ref-FOOTNOTEPinchTrocco2004[[Category:Wikipedia_articles_needing_page_number_citations_from_July_2020]]<sup_class="noprint_Inline-Template_"_style="white-space:nowrap;">&#91;<i>[[Wikipedia:Citing_sources|<span_title="This_citation_requires_a_reference_to_the_specific_page_or_range_of_pages_in_which_the_material_appears.&#32;(July_2020)">page&nbsp;needed</span>]]</i>&#93;</sup>_5-0" class="reference"><a href="#cite_note-FOOTNOTEPinchTrocco2004[[Category:Wikipedia_articles_needing_page_number_citations_from_July_2020]]<sup_class="noprint_Inline-Template_"_style="white-space:nowrap;">&#91;<i>[[Wikipedia:Citing_sources|<span_title="This_citation_requires_a_reference_to_the_specific_page_or_range_of_pages_in_which_the_material_appears.&#32;(July_2020)">page&nbsp;needed</span>]]</i>&#93;</sup>-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup> eclipsing many in <a href="Electronics" title="Electronics">electronics</a>, <a href="Computer_science" title="Computer science">computer science</a>, and <a href="Biotechnology" title="Biotechnology">biotechnology</a>.

</p><p>The first commercial musical instrument to incorporate FM synthesis was the <a href="Synclavier" title="Synclavier">Synclavier</a> I, introduced by <a href="New_England_Digital" title="New England Digital">New England Digital Corporation</a> in 1977. Their Synclavier II, introduced in 1980, was frequently used in the production of popular music beginning that year. The first Yamaha product to incorporate the FM algorithm was the GS1, a digital synthesizer that first shipped in 1981. Some thought, including Chowning, that it was too expensive at the time. Soon after, in 1983, Yamaha made their first commercially successful digital FM synthesizer, the <a href="Yamaha_DX7" title="Yamaha DX7">DX7</a>. The DX7 was used on a host of popular songs throughout the 1980s, including <a href="Prince_(musician)" title="Prince (musician)">Prince</a>'s <i><a href="When_Doves_Cry" title="When Doves Cry">When Doves Cry</a>,</i> <a href="A-ha" title="A-ha">A-ha</a>'s <i><a href="Take_On_Me" title="Take On Me">Take on Me</a></i>, <a href="George_Michael" title="George Michael">George Michael</a>’s <i><a href="Careless_Whisper" title="Careless Whisper">Careless Whisper</a></i>, <a href="Tina_Turner" title="Tina Turner">Tina Turner</a>'s <i>The Best</i>, <a href="Sade_(singer)" title="Sade (singer)">Sade</a>’s <i><a href="Smooth_Operator" title="Smooth Operator">Smooth Operator</a>,</i> as well as many of <a href="Brian_Eno" title="Brian Eno">Brian Eno</a>'s productions, and numerous other hits.<sup id="cite_ref-6" class="reference"><a href="#cite_note-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup>

</p><p>Another important aspect of Chowning's work is the simulated motion of sound through physical space,<sup id="cite_ref-FOOTNOTEChowning1970_7-0" class="reference"><a href="#cite_note-FOOTNOTEChowning1970-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> whose algorithm was developed during the decade between 1962 and 1972.<sup id="cite_ref-8" class="reference"><a href="#cite_note-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> This period coincides with his initial years at Stanford University, first as a graduate student and later as assistant professor, an exceptional historical period during which he built a series of important collaborations with <a href="Leland_Smith" title="Leland Smith">Leland Smith</a>, <a href="Max_Mathews" title="Max Mathews">Max Mathews</a>, Manfred R. Shroeder, <a href="Karlheinz_Stockhausen" title="Karlheinz Stockhausen">Karlheinz Stockhausen</a>, David Poole, Andy Moorer, who all had influence in different ways in the development of his spatialisation algorithm.<sup id="cite_ref-9" class="reference"><a href="#cite_note-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> In 1972, in his composition <i>Turenas</i>, he was first able to create the illusion of a continuous 360-degree space using only four speakers.<sup id="cite_ref-FOOTNOTEMattis2001_4-1" class="reference"><a href="#cite_note-FOOTNOTEMattis2001-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup>

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<div class="mw-heading mw-heading2"><h2 id="Early_life">Early life</h2></div>

<p>The first instrument Chowning learned was violin, which he picked up after finding an old one in the attic of his family home. He then later got drum lessons in high school. <a href="Korean_War" title="Korean War">The Korean War</a> had begun by the time he graduated, and instead of enlisting, Chowning auditioned for the <a href="United_States_Armed_Forces_School_of_Music" title="United States Armed Forces School of Music">Navy School of Music</a> in Washington DC, which led to him performing in an 18-piece band on a Mediterranean aircraft carrier.<sup id="cite_ref-10" class="reference"><a href="#cite_note-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> After the war, Chowning graduated from <a href="Wittenberg_University" title="Wittenberg University">Wittenberg University</a> with a Bachelor of Music in 1959.<sup id="cite_ref-FOOTNOTENelson201519_11-0" class="reference"><a href="#cite_note-FOOTNOTENelson201519-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> He studied music composition for two years (1959–61) with <a href="Nadia_Boulanger" title="Nadia Boulanger">Nadia Boulanger</a> in Paris and received his <a href="D.M.A." class="mw-redirect" title="D.M.A.">D.M.A.</a> in 1966 from Stanford, where he studied under <a href="Leland_Smith" title="Leland Smith">Leland Smith</a>. He was the founding director in 1975 of the <a href="CCRMA" class="mw-redirect" title="CCRMA">Center for Computer Research in Music and Acoustics (CCRMA)</a> at Stanford University.<sup id="cite_ref-FOOTNOTEMattis2001_4-2" class="reference"><a href="#cite_note-FOOTNOTEMattis2001-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup>

</p><p>Chowning also worked for a number of years at <a href="IRCAM" title="IRCAM">IRCAM</a>, in <a href="Paris" title="Paris">Paris</a> and was an influential reference point in the founding of the French centre, with repeated meetings and exchanges with Pierre Boulez in the 1970s, and subsequently with Chowning's presence in musical projects in the late 1970s and 1980s.<sup id="cite_ref-12" class="reference"><a href="#cite_note-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-13" class="reference"><a href="#cite_note-13"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup>

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<div class="mw-heading mw-heading2"><h2 id="Private_life">Private life</h2></div>

<p>Chowning married Elisabeth Keller and they had two children, John and Marianne. John's second marriage is to Maureen (Doody) Tiernay and they had one child named James Scott.

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<div class="mw-heading mw-heading2"><h2 id="Famous_compositions">Famous compositions</h2></div>

<p>One of Chowning's most famous pieces is called <i>Stria</i> (1977). It was commissioned by <a href="IRCAM" title="IRCAM">IRCAM</a> for the Institute's first major concert series called <i>Perspectives of the 20th Century</i>. His composition was noted for its inharmonic sounds due to his famous FM algorithm and his use of the <a href="Golden_ratio" title="Golden ratio">golden mean</a> (1.618...) in music.

</p><p>Other famous compositions include <i>Turenas</i> (1972), which was one of the first electronic compositions to have the illusion of sounds moving in a 360-degree space.<sup id="cite_ref-FOOTNOTETyrannyn.d._14-0" class="reference"><a href="#cite_note-FOOTNOTETyrannyn.d.-14"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> With <i>Phoné</i> (1980–1981), he became the first to put FM over voice synthesis.<sup id="cite_ref-FOOTNOTEAnon.2001_15-0" class="reference"><a href="#cite_note-FOOTNOTEAnon.2001-15"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup>

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<div class="mw-heading mw-heading2"><h2 id="Compositions">Compositions</h2></div>

<ul><li><i>Sabelithe</i>, 1966, revised 1971</li>

<li><i>Turenas</i>, 1972</li>

<li><i>Stria</i>, 1977</li>

<li><i>Phoné</i>, 1980–1981</li>

<li><i>Voices</i>, 2005</li></ul>

<ul><li><a href="CCRMA" class="mw-redirect" title="CCRMA">CCRMA</a> – Center for Computer Research in Music and Acoustics</li>

<li><a href="Frequency_modulation_synthesis" title="Frequency modulation synthesis">Frequency modulation synthesis</a></li></ul>

<div class="mw-heading mw-heading2"><h2 id="References">References</h2></div>

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<li id="cite_note-FOOTNOTEJohnstone1994-1"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEJohnstone1994_1-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFJohnstone1994">Johnstone 1994</a>.</span>

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<li id="cite_note-FOOTNOTESchottstaedtn.d.-2"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTESchottstaedtn.d._2-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFSchottstaedtn.d.">Schottstaedt n.d</a>.</span>

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<li id="cite_note-FOOTNOTEChowning1973-3"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEChowning1973_3-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFChowning1973">Chowning 1973</a>.</span>

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<li id="cite_note-FOOTNOTEMattis2001-4"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTEMattis2001_4-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTEMattis2001_4-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-FOOTNOTEMattis2001_4-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFMattis2001">Mattis 2001</a>.</span>

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<li id="cite_note-FOOTNOTEPinchTrocco2004[[Category:Wikipedia_articles_needing_page_number_citations_from_July_2020]]<sup_class="noprint_Inline-Template_"_style="white-space:nowrap;">&#91;<i>[[Wikipedia:Citing_sources|<span_title="This_citation_requires_a_reference_to_the_specific_page_or_range_of_pages_in_which_the_material_appears.&#32;(July_2020)">page&nbsp;needed</span>]]</i>&#93;</sup>-5"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEPinchTrocco2004[[Category:Wikipedia_articles_needing_page_number_citations_from_July_2020]]<sup_class="noprint_Inline-Template_"_style="white-space:nowrap;">&#91;<i>[[Wikipedia:Citing_sources|<span_title="This_citation_requires_a_reference_to_the_specific_page_or_range_of_pages_in_which_the_material_appears.&#32;(July_2020)">page&nbsp;needed</span>]]</i>&#93;</sup>_5-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFPinchTrocco2004">Pinch & Trocco 2004</a>, .</span>

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</style><cite id="CITEREFMonroe2024" class="citation news cs1">Monroe, Jazz (2024-10-09). <a rel="nofollow" class="external text" href="https://www.theguardian.com/music/2024/oct/09/john-chowning-godfather-of-digital-pop-my-wife-told-me-i-didnt-think-id-have-to-compete-with-a-computer">"John Chowning, godfather of digital pop: 'My wife told me: I didn't think I'd have to compete with a computer'"</a>. <i>The Guardian</i>. <a href="ISSN_(identifier)" class="mw-redirect" title="ISSN (identifier)">ISSN</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/issn/0261-3077">0261-3077</a><span class="reference-accessdate">. Retrieved <span class="nowrap">2024-10-10</span></span>.</cite></span>

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<li id="cite_note-FOOTNOTEChowning1970-7"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEChowning1970_7-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFChowning1970">Chowning 1970</a>.</span>

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<li id="cite_note-8"><span class="mw-cite-backlink"><b><a href="#cite_ref-8">^</a></b></span> <span class="reference-text">Zattra – Féron 2024b, pp.357–390.</span>

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<li id="cite_note-9"><span class="mw-cite-backlink"><b><a href="#cite_ref-9">^</a></b></span> <span class="reference-text">Ibidem.</span>

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<li id="cite_note-10"><span class="mw-cite-backlink"><b><a href="#cite_ref-10">^</a></b></span> <span class="reference-text"><cite id="CITEREFMonroe2024" class="citation news cs1">Monroe, Jazz (2024-10-09). <a rel="nofollow" class="external text" href="https://www.theguardian.com/music/2024/oct/09/john-chowning-godfather-of-digital-pop-my-wife-told-me-i-didnt-think-id-have-to-compete-with-a-computer">"John Chowning, godfather of digital pop: 'My wife told me: I didn't think I'd have to compete with a computer'"</a>. <i>The Guardian</i>. <a href="ISSN_(identifier)" class="mw-redirect" title="ISSN (identifier)">ISSN</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/issn/0261-3077">0261-3077</a><span class="reference-accessdate">. Retrieved <span class="nowrap">2024-10-10</span></span>.</cite></span>

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<li id="cite_note-FOOTNOTENelson201519-11"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTENelson201519_11-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFNelson2015">Nelson 2015</a>, 19.</span>

</li>

<li id="cite_note-12"><span class="mw-cite-backlink"><b><a href="#cite_ref-12">^</a></b></span> <span class="reference-text">Féron – Zattra 2023, pp.123–132.</span>

</li>

<li id="cite_note-13"><span class="mw-cite-backlink"><b><a href="#cite_ref-13">^</a></b></span> <span class="reference-text">Féron – Zattra 2024a, pp.173–187.</span>

</li>

<li id="cite_note-FOOTNOTETyrannyn.d.-14"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTETyrannyn.d._14-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFTyrannyn.d.">Tyranny n.d</a>.</span>

</li>

</li>

</ol></div></div>

<div class="mw-heading mw-heading3"><h3 id="Works_cited">Works cited</h3></div>

/* start https://en.wikipedia.org/ */

.mw-parser-output .citation{word-wrap:break-word}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}

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</style><cite class="citation wikicite" id="CITEREFAnon.2001">Anon. 2001. "<a rel="nofollow" class="external text" href="https://web.archive.org/web/20070715135156/http://musicweb.koncon.nl/ircam/en/artificial/phone.html">Artificial Voice</a>", translated by Niiki Halpern. Ircam Centre Pompidou archive from 15 July 2007, accessed 26 March 2015).</cite></li>

<li><cite class="citation wikicite" id="CITEREFChowning1973">Chowning, John M. 1973. "The Synthesis of Complex Audio Spectra by Means of Frequency Modulation". <i>Journal of the Audio Engineering Society</i> 7, no. 21:526–34.</cite> <a href="ISSN_(identifier)" class="mw-redirect" title="ISSN (identifier)">ISSN</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/issn/0004-7554">0004-7554</a></li>

<li><cite class="citation wikicite" id="CITEREFJohnstone1994">Johnstone, Robert. 1994. "<a rel="nofollow" class="external text" href="https://www.academia.edu/2680140/The_sound_of_one_chip_clapping_Yamaha_and_FM_synthesis">The Sound of One Chip Clapping: Yamaha and FM Synthesis</a>".</cite></li>

<li><cite class="citation wikicite" id="CITEREFMattis2001">Mattis, Olivia. 2001. "Chowning, John M(acLeod)". <i>The New Grove Dictionary of Music and Musicians</i>, second edition, edited by <a href="Stanley_Sadie" title="Stanley Sadie">Stanley Sadie</a> and <a href="John_Tyrrell_(musicologist)" title="John Tyrrell (musicologist)">John Tyrrell</a>. London: Macmillan Publishers.</cite></li>

<li><cite class="citation wikicite" id="CITEREFNelson2015">Nelson, Andrew J. 2015. <i>The Sound of Innovation: Stanford and the Computer Music Revolution</i>. Cambridge, MA: MIT Press.</cite></li>

<li><cite class="citation wikicite" id="CITEREFPinchTrocco2004">Pinch, Trevor, and Frank Trocco. 2004. <i>Analog Days</i>. Cambridge, Massachusetts: <a href="Harvard_University_Press" title="Harvard University Press">Harvard University Press</a>.</cite></li>

<li><cite class="citation wikicite" id="CITEREFSchottstaedtn.d.">Schottstaedt, Bill. n.d. "<a rel="nofollow" class="external text" href="https://ccrma.stanford.edu/software/snd/snd/fm.html">An Introduction To FM – Bill Schottstaedt: "John Chowning tells me that he stumbled on FM when he sped up vibrato to the point that it was creating audible sidebands (perceived as a timbral change) rather than faster warbling (perceived as a frequency change).</a>"</cite></li>

<li><cite class="citation wikicite" id="CITEREFTyrannyn.d.">Tyranny, "Blue" Gene. n.d. "<a rel="nofollow" class="external text" href="http://www.allmusic.com/album/phone-1980-1981-turenas-1972-stria-1977-sabelithe-1971-mw0000931823">Review: John Chowning: <i>Phone</i> [<i>sic</i>] (1980–1981) / <i>Turenas</i> (1972) / <i>Stria</i> (1977)/ <i>Sabelithe</i> (1971)</a>". Allmusic website (accessed 26 March 2015).</cite></li>

<li><cite class="citation wikicite" id="CITEREFChowning1970">Chowning, John M. "Method and apparatus for simulating location and movement of sound" <a rel="nofollow" class="external autonumber" href="https://patents.google.com/patent/US3665105A/en?inventor=john+M.+chowning&oq=john+M.+chowning">[1]</a> (accessed 07 July 2021).</cite></li>

<li>François-Xavier Féron, Laura Zattra, <a rel="nofollow" class="external text" href="https://hal.science/IRCAM/halshs-04140906v2">"L’empreinte de John Chowning dans la construction de l’Ircam: de sa rencontre avec Pierre Boulez en 1973 à la création de Stria en 1977"</a>, Les journées d'Informatique Musicale, pp.123–132, 2023, ⟨halshs-04140906v2⟩.</li>

<li>François-Xavier Féron, Laura Zattra (2024a), <a rel="nofollow" class="external text" href="https://hal.science/IRCAM/halshs-04622447v1">"John Chowning à l'Ircam: de la création de Stria en 1977 à ses recherches dans le studio MIDI en 1985"</a>, Les journées d'Informatique Musicale, PRISM, May 2024, Marseille, France. pp.173–187, ⟨halshs-04622447⟩.</li>

<li>Laura Zattra, François-Xavier Féron (2024b), “A history of the first computer sound spatialization system: John Chowning’s investigations at Stanford University (1962–1972)”, in <a rel="nofollow" class="external text" href="https://www.brepols.net/products/IS-9782503611839-1"><i>Sound, Music and Architecture</i></a>, Roberto Illiano ed., series “Music, Science and Technology”, Brepols, pp. 357–390.</li></ul>

<div class="mw-heading mw-heading2"><h2 id="Further_reading">Further reading</h2></div>

<ul><li><a rel="nofollow" class="external text" href="http://www.oac.cdlib.org/findaid/ark:/13030/kt0v19r72c/">John M. Chowning Papers</a></li>

<li><a rel="nofollow" class="external text" href="https://mitpress.mit.edu/books/sound-innovation">Andrew Nelson, <i>The Sound of Innovation</i>, Cambridge MA, MIT Press, 2015</a></li>

<li><a rel="nofollow" class="external text" href="http://www.editions-delatour.com/fr/musicologie-analyses/1802-pionniers-de-la-musique-numerique-9782752101259.html">Olivier Baudouin, <i>Pionniers de la musique numérique</i>, Sampzon, Delatour, 2012</a></li>

<li>John Chowning. Portraits polychromes. P.A. Castanet, É. Gayou, J.C. Risset et al. (eds). Paris: Ina – Michel de Maule, 2005.</li>

<li>Computer Music Journal (The Reconstruction of Stria), Computer Music Journal, Fall 2007, Vol. 31.</li>

<li>Roads, C., <a rel="nofollow" class="external text" href="https://web.archive.org/web/20120429053842/http://www.o-art.org/history/LongDur/Chowning.html">“John Chowning on composition”</a>, Composers and the computer. Los Altos CA: Kaufman, pp. 18–25, 1985.</li>

<li>Zelli, Bijan. “Interview with John Chowning.” [www.bijanzelli.com/Chowning_Interview_Published.pdf] (April 2010). Montréal: <a href="Canadian_Electroacoustic_Community" title="Canadian Electroacoustic Community">CEC</a>.</li>

<li>Zelli, Bijan. “Reale und virtuelle Räume in der Computermusik: Theorien, Systeme, Analysen.” Unpublished PhD dissertation. Kommunikations- und Geschichtswissenschaft, Technische Universität Berlin, 2001. Available on <a rel="nofollow" class="external text" href="https://web.archive.org/web/20100615231721/http://www.bijanzelli.com/Publications.htm">the author’s website</a>, the dissertation includes an analysis of <i>Turenas</i>. <span class="languageicon">(in German)</span></li></ul>

<div class="mw-heading mw-heading2"><h2 id="External_links">External links</h2></div>

<ul><li><cite class="citation web cs1 cs1-prop-foreign-lang-source"><a rel="nofollow" class="external text" href="https://brahms.ircam.fr/composers/composer/863/">"John Chowning (biography, works, resources)"</a> (in French and English). <a href="IRCAM" title="IRCAM">IRCAM</a>.</cite></li>

<li>Chaiken, Alison and Ann Arbor. Interview with John Chowning (audio). 13 April 2006.</li>

<li>Portraits Polychromes, <a rel="nofollow" class="external text" href="https://web.archive.org/web/20120402110836/http://www.institut-national-audiovisuel.fr/sites/ina/medias/upload/grm/portraits-polychromes/extraits/chowning/index.html">John Chowning</a>, INA (Institut National Audiovisuel).</li>

<li><a rel="nofollow" class="external text" href="http://rwm.macba.cat/en/sonia/john-chowning-/capsula">Interview with John Chowning (2015)</a> charting a historical overview of the different branches of his artistic career, focusing on his interest in the human voice, the creation of new sonorities, and being a pioneer in a discipline at a time when using computers to generate music was a leap into the void between creative eccentricity and scientific adventure.</li>

<li><a rel="nofollow" class="external text" href="https://www.namm.org/library/oral-history/john-chowning">John Chowning talks about the importance of velocity sensitivity of the DX7 as well as the data cartridge to store voices – NAMM Oral History Library (2001)</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20151208074945/https://www.namm.org/library/oral-history/john-chowning">Archived</a> 2015-12-08 at the <a href="Wayback_Machine" title="Wayback Machine">Wayback Machine</a></li></ul>

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</style><div id="Computer_music80" style="font-size:114%;margin:0 4em"><a href="Computer_music" title="Computer music">Computer music</a></div></th></tr><tr><th scope="row" class="navbox-group" style="width:1%">People</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Marc_Battier" title="Marc Battier">Marc Battier</a></li>

<li><a href="Richard_Boulanger" title="Richard Boulanger">Richard Boulanger</a></li>

<li><a href="David_Cope" title="David Cope">David Cope</a></li>

<li><a href="Giuseppe_di_Giugno" title="Giuseppe di Giugno">Giuseppe di Giugno</a></li>

<li><a href="Charles_Dodge_(composer)" title="Charles Dodge (composer)">Charles Dodge</a></li>

<li><a href="Gottfried_Michael_Koenig" title="Gottfried Michael Koenig">Gottfried Michael Koenig</a></li>

<li><a href="Paul_Lansky" title="Paul Lansky">Paul Lansky</a></li>

<li><a href="Max_Mathews" title="Max Mathews">Max Mathews</a></li>

<li><a href="G%C3%A9rard_Pape" title="Gérard Pape">Gérard Pape</a></li>

<li><a href="Miller_Puckette" title="Miller Puckette">Miller Puckette</a></li>

<li><a href="Roger_Reynolds" title="Roger Reynolds">Roger Reynolds</a></li>

<li><a href="Jean-Claude_Risset" title="Jean-Claude Risset">Jean-Claude Risset</a></li>

<li><a href="Curtis_Roads" title="Curtis Roads">Curtis Roads</a></li>

<li><a href="Laurie_Spiegel" title="Laurie Spiegel">Laurie Spiegel</a></li>

<li><a href="Trimpin" title="Trimpin">Trimpin</a></li>

<li><a href="Barry_Vercoe" title="Barry Vercoe">Barry Vercoe</a></li>

<li><a href="Iannis_Xenakis" title="Iannis Xenakis">Iannis Xenakis</a></li></ul>

</div></td><td class="noviewer navbox-image" rowspan="5" style="width:1px;padding:0 0 0 2px"><div><span typeof="mw:File"><a href="CSIRAC" title="CSIRAC"></a></span>

<span typeof="mw:File"><a href="Stanford_University_centers_and_institutes#Center_for_Computer_Research_in_Music_and_Acoustics" title="Stanford University centers and institutes"></a></span></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Programs and<br>instruments</th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="ChucK" title="ChucK">ChucK</a></li>

<li><a href="Composers_Desktop_Project" title="Composers Desktop Project">Composers Desktop Project</a></li>

<li><a href="Csound" title="Csound">Csound</a></li>

<li><a href="FAUST_(programming_language)" title="FAUST (programming language)">FAUST</a></li>

<li><a href="Laptop_orchestra" title="Laptop orchestra">Laptop orchestra</a></li>

<li><a href="MIDI_controller" title="MIDI controller">MIDI controller</a></li>

<li><a href="Music_Mouse" title="Music Mouse">Music Mouse</a></li>

<li><a href="MUSIC-N" title="MUSIC-N">MUSIC-N</a></li>

<li><a href="Radiodrum" title="Radiodrum">Radiodrum</a></li>

<li><a href="Riffusion" title="Riffusion">Riffusion</a></li>

<li><a href="Sonic_Pi" title="Sonic Pi">Sonic Pi</a></li>

<li><a href="SuperCollider" title="SuperCollider">SuperCollider</a></li>

<li><a href="TidalCycles" title="TidalCycles">TidalCycles</a></li>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Places</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">

<li><a href="Stanford_University_centers_and_institutes#Center_for_Computer_Research_in_Music_and_Acoustics" title="Stanford University centers and institutes">CCRMA</a></li>

<li><a href="CCMIX" title="CCMIX">CEMAMu</a></li>

<li><a href="Computer_Music_Center" title="Computer Music Center">Computer Music Center at Columbia</a></li>

<li><a href="Experimental_Music_Studios" title="Experimental Music Studios">Experimental Music Studios</a></li>

<li><a href="IRCAM" title="IRCAM">IRCAM</a></li>

<li><a href="Center_for_New_Music_and_Audio_Technologies" class="mw-redirect" title="Center for New Music and Audio Technologies">Center for New Music and Audio Technologies</a></li>

<li><a href="Princeton_Sound_Lab" title="Princeton Sound Lab">Princeton Sound Lab</a></li>

<li><a href="TIMARA" title="TIMARA">Oberlin TIMARA Labs</a></li>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Techniques</th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Algorithmic_composition" title="Algorithmic composition">Algorithmic composition</a></li>

<li><a href="Music_and_artificial_intelligence" title="Music and artificial intelligence">Artificial intelligence</a></li>

<li><a href="Synthesizer" title="Synthesizer">Sound synthesis</a>

<ul><li><a href="Digital_synthesizer" title="Digital synthesizer">Digital synthesis</a></li></ul></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Compositions</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><i><a href="Illiac_Suite" title="Illiac Suite">Illiac Suite</a></i></li>

<li><i><a href="Mortuos_Plango%2C_Vivos_Voco" title="Mortuos Plango, Vivos Voco">Mortuos Plango, Vivos Voco</a></i></li></ul>

</div></td></tr></tbody></table></div>

<div class="navbox-styles"></div><div role="navigation" class="navbox" aria-labelledby="SEAMUS_Lifetime_Achievement_Award117" style="padding:3px"><table class="nowraplinks mw-collapsible autocollapse navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th scope="col" class="navbox-title" colspan="2" style="background:#d3d3d3;"><div id="SEAMUS_Lifetime_Achievement_Award117" style="font-size:114%;margin:0 4em"><div style="display: inline-block; line-height: 1.2em; padding: .1em 0;"><a href="SEAMUS_Lifetime_Achievement_Award" class="mw-redirect" title="SEAMUS Lifetime Achievement Award">SEAMUS Lifetime Achievement Award</a></div></div></th></tr><tr><td colspan="2" class="navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><span class="nowrap"><a href="Vladimir_Ussachevsky" title="Vladimir Ussachevsky">Vladimir Ussachevsky</a> (1987)</span></li>

<li><span class="nowrap"><a href="Mario_Davidovsky" title="Mario Davidovsky">Mario Davidovsky</a> (1989)</span></li>

<li><span class="nowrap"><a href="Otto_Luening" title="Otto Luening">Otto Luening</a> (1990)</span></li>

<li><span class="nowrap"><a href="Robert_Moog" title="Robert Moog">Robert Moog</a> (1991)</span></li>

<li><span class="nowrap"><a href="Max_Mathews" title="Max Mathews">Max Mathews</a> (1994)</span></li>

<li><span class="nowrap"><a href="Milton_Babbitt" title="Milton Babbitt">Milton Babbitt</a> (1995)</span></li>

<li><span class="nowrap"><a href="Charles_Dodge_(composer)" title="Charles Dodge (composer)">Charles Dodge</a> (1996)</span></li>

<li><span class="nowrap"><a href="Bebe_and_Louis_Barron" title="Bebe and Louis Barron">Bebe and Louis Barron</a> (1997)</span></li>

<li><span class="nowrap"><a href="Morton_Subotnick" title="Morton Subotnick">Morton Subotnick</a> (1998)</span></li>

<li><span class="nowrap"><a href="Pauline_Oliveros" title="Pauline Oliveros">Pauline Oliveros</a> (1999)</span></li>

<li><span class="nowrap"><a href="Paul_Lansky" title="Paul Lansky">Paul Lansky</a> (2000)</span></li>

<li><span class="nowrap"><a href="Herbert_Br%C3%BCn" title="Herbert Brün">Herbert Brün</a> (2001)</span></li>

<li><span class="nowrap"><a href="Don_Buchla" title="Don Buchla">Don Buchla</a> (2002)</span></li>

<li><span class="nowrap"><a href="Jon_Appleton" title="Jon Appleton">Jon Appleton</a> (2003)</span></li>

<li><span class="nowrap"><a href="Barry_Vercoe" title="Barry Vercoe">Barry Vercoe</a> (2004)</span></li>

<li><span class="nowrap"><a href="Wendy_Carlos" title="Wendy Carlos">Wendy Carlos</a> (2005)</span></li>

<li><span class="nowrap"><a href="Alvin_Lucier" title="Alvin Lucier">Alvin Lucier</a> (2006)</span></li>

<li><span class="nowrap"><a href="Joel_Chadabe" title="Joel Chadabe">Joel Chadabe</a> (2007)</span></li>

<li><span class="nowrap"><a href="Miller_Puckette" title="Miller Puckette">Miller Puckette</a> (2008)</span></li>

<li><span class="nowrap"><a href="Larry_Austin" title="Larry Austin">Larry Austin</a> (2009)</span></li>

<li><span class="nowrap"><a href="Curtis_Roads" title="Curtis Roads">Curtis Roads</a> (2010)</span></li>

<li><span class="nowrap"><a href="Laurie_Anderson" title="Laurie Anderson">Laurie Anderson</a> (2011)</span></li>

<li><span class="nowrap"><a href="George_E._Lewis" title="George E. Lewis">George E. Lewis</a> (2012)</span></li>

<li><span class="nowrap"><a href="Laurie_Spiegel" title="Laurie Spiegel">Laurie Spiegel</a> (2013)</span></li>

<li><span class="nowrap">Barry Schrader (2014)</span></li>

<li><span class="nowrap"><a href="Dave_Smith_(engineer)" title="Dave Smith (engineer)">Dave Smith</a> (2015)</span></li>

<li><span class="nowrap"><a href="Pamela_Z" title="Pamela Z">Pamela Z</a> (2016)</span></li>

<li><span class="nowrap"><a href="Carla_Scaletti" title="Carla Scaletti">Carla Scaletti</a> (2017)</span></li>

<li><span class="nowrap">Scott A. Wyatt (2018)</span></li>

<li><span class="nowrap"><a href="Gordon_Mumma" title="Gordon Mumma">Gordon Mumma</a> (2019)</span></li>

<li><span class="nowrap"><a href="Annea_Lockwood" title="Annea Lockwood">Annea Lockwood</a> (2020)</span></li></ul>

</div></td></tr></tbody></table></div>

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This article is issued from <a class="external text" title="Last edited on 2025-05-17" href="https://en.wikipedia.org/wiki/?title=John_Chowning&oldid=1290783423">Wikipedia</a>. The text is available under <a class="external text" href="https://creativecommons.org/licenses/by-sa/4.0/deed.en">Creative Commons Attribution-Share Alike 4.0</a> unless otherwise noted. Additional terms may apply for the media files.

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