Chowning Uses FM Synthesis, Golden Ratio to Forge Inharmonic Stria

John Chowning - Stria (1977) — Asymmatrix

Asymmatrix

Modulating audio-band waveforms enables the production of bell-like and metallic timbres by structuring carrier-modulation frequency ratios around the golden mean.

AI-assisted summary of John Chowning - Stria (1977) — original source. Check the original for full context.

Source published:

Key ideas

  • John Chowning's 1977 composition *Stria*, commissioned by IRCAM, stands as a landmark electroacoustic work utilizing his frequency modulation (FM) algorithm structured around the Golden Mean (1.618...). (0:00)
  • Discovered in 1967, Chowning's FM synthesis places both carrier and modulation frequencies in the audible band, generating rich inharmonic metallic and bell-like sounds from simple waveforms.
  • Stanford University licensed the FM synthesis patent to Yamaha in 1973, producing one of the university's most lucrative patents and leading directly to commercial synthesizers like the GS1 (1981) and DX7 (1983).
  • The five-minute audio excerpt presents the piece's complex metallic textures alongside concluding vocal sign-offs including 'The End,' 'Bye,' and 'Thank you.' (0:00)

Detailed notes

## Background Published on YouTube by channel Asymmatrix on August 6, 2009, this video presents an excerpt of John Chowning's 1977 electroacoustic composition, *Stria*. The video description details Chowning's 1967 discovery of the FM synthesis algorithm, its licensing to Yamaha which led to instruments like the GS1 and DX7, and how *Stria* was commissioned by IRCAM using inharmonic sounds and the Golden Mean.

## TL;DR The video features a five-minute recording of John Chowning's landmark computer music work *Stria* (1977). Driven by audio-band frequency modulation synthesis based on the golden ratio, the piece develops through metallic, bell-like, and inharmonic timbres. Interspersed and ending across the electronic soundscape are spoken vocal acknowledgments, including phrases such as 'The End,' 'Bye,' and multiple repetitions of 'Thank you.'

## Atmosphere & style The piece possesses an eerie, resonant, and deeply abstract atmosphere shaped by cold, crystalline metallic tones and unearthly bell spectra. Listening feels like drifting through a suspended, alien sonic space where mathematical precision meets acoustic mystery. The sudden appearance of casual, human parting phrases like 'The End' and 'Thank you' adds an uncanny, grounding contrast to the ethereal electronic textures.

## Bulletin - [00:00](https://www.youtube.com/watch?v=988jPjs1gao&t=0s) John Chowning's 1977 composition *Stria*, commissioned by IRCAM, stands as a landmark electroacoustic work utilizing his frequency modulation (FM) algorithm structured around the Golden Mean (1.618...). - Discovered in 1967, Chowning's FM synthesis places both carrier and modulation frequencies in the audible band, generating rich inharmonic metallic and bell-like sounds from simple waveforms. - Stanford University licensed the FM synthesis patent to Yamaha in 1973, producing one of the university's most lucrative patents and leading directly to commercial synthesizers like the GS1 (1981) and DX7 (1983). - [00:00](https://www.youtube.com/watch?v=988jPjs1gao&t=0s) The five-minute audio excerpt presents the piece's complex metallic textures alongside concluding vocal sign-offs including 'The End,' 'Bye,' and 'Thank you.'

## Key takeaways - John Chowning discovered the FM synthesis algorithm in 1967 while exploring computer-generated sound at Stanford. - In FM synthesis, modulating the frequency of a carrier waveform with another audio-band frequency generates complex periodic or non-periodic resultant waveforms based on their frequency ratio. - The FM breakthrough made it computationally feasible to synthesize rich, realistic percussion timbres such as metal striking and bells. - Chowning dedicated six years to refining the synthesis technique, ultimately simulating an array of acoustic sounds including the singing voice. - Stanford licensed the algorithm to Yamaha in 1973, where it became one of the university's most profitable patents, surpassing patents in biotechnology and computing. - Yamaha initially debuted the FM algorithm commercially in 1981 with the high-end GS1 digital synthesizer before achieving widespread commercial success with the DX7 in 1983. - [00:00](https://www.youtube.com/watch?v=988jPjs1gao&t=0s) IRCAM commissioned *Stria* in 1977 for its inaugural concert series, 'Perspectives of the 20th Century.' - [00:00](https://www.youtube.com/watch?v=988jPjs1gao&t=0s) The composition uniquely integrates the Golden Mean (1.618...) with FM synthesis to dictate pitch relationships and inharmonic spectra. - [00:00](https://www.youtube.com/watch?v=988jPjs1gao&t=0s) The recorded excerpt showcases the piece's signature metallic, bell-like electronic soundscape unfolding through gradual spectral transformations. - [00:00](https://www.youtube.com/watch?v=988jPjs1gao&t=0s) Spoken acknowledgments—specifically 'The End,' 'Bye,' and repeated expressions of 'Thank you'—are captured over the synthesizer decay before the excerpt finishes.

## Detailed walkthrough ### [00:00](https://www.youtube.com/watch?v=988jPjs1gao&t=0s) Performance of John Chowning's *Stria*

The recording presents a five-minute excerpt of composer John Chowning's seminal computer music composition, *Stria* (1977). The piece unfolds as an electroacoustic soundscape driven by Chowning’s pioneering frequency modulation (FM) synthesis algorithm, generating complex, bell-like, and metallic inharmonic timbral structures based upon the golden ratio.

Interspersed and concluding over the synthesized textures, spoken acknowledgments and sign-offs are registered on the track. The vocal transcript captures repeated parting words and gratitude, with the speaker stating, “The End,” followed by “Bye,” and repeatedly offering, “Thank you.” The passage resolves back into the electronic textures as the music reaches its conclusion.

- **Composition:** *Stria* (composed in 1977 by John Chowning) - **Acoustic Characteristics:** Audio-band frequency modulation (FM) synthesis producing metallic percussion and inharmonic spectra - **Spoken Expressions:** Concluding remarks recorded as “The End,” “Bye,” and “Thank you.”

## Mentioned John Chowning, Stria, Stanford University, Yamaha, Yamaha GS1, Yamaha DX7, IRCAM, Perspectives of the 20th Century

## Video description John M. Chowning is known for having discovered the FM synthesis algorithm in 1967. In FM (frequency modulation) synthesis, both the carrier frequency and the modulation frequency are within the audio band. In essence, the amplitude and frequency 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.

Chowning's breakthrough allowed for simple yet rich sounding timbres, which synthesized 'metal striking' or 'bell like' sounds, and which seemed incredibly similar to real percussion. (Chowning was also a skilled drummer.) 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 1973 Stanford University licensed the discovery to Yamaha in Japan, with whom Chowning worked in developing a family of synthesizers and electronic organs. This patent was Stanford's most lucrative patent at one time, eclipsing many in electronics, computer science, and biotechnology.

The first product to incorporate the FM algorithm was Yamaha's GS1, a digital synthesizer that first shipped in 1981. Some thought it too expensive at the time, Chowning included. Soon after, in 1983, Yamaha made their first commercially successful digital FM synthesizer, the DX7.

One of Chowning's most famous pieces is called Stria (1977). It was commissioned by IRCAM for the Institute's first major concert series called Perspectives of the 20th Century. His composition was noted for its inharmonic sounds due to his famous FM algorithm and his use of the Golden Mean (1.618...) in music. -Wikipedia

[Source](https://www.youtube.com/watch?v=988jPjs1gao)

中文简报

肖宁运用FM合成与黄金比例打造非谐和作品《Stria》 通过围绕黄金分割构建载波与调制频率比，调制音频带波形能够产生钟声般以及金属质感的音色。 该视频呈现了约翰·肖宁（John Chowning）具有里程碑意义的计算机音乐作品《Stria》（1977年）的一段5分钟录音。在基于黄金比例的音频带频率调制（FM）合成技术的驱动下，该作品在金属感、钟声般以及非谐和的音色中展开。电子声景中穿插并在结尾处出现了口头致意与道别，包括“The End”、“Bye”以及多次重复的“Thank you”等短语。 约翰·肖宁于1977年受IRCAM委托创作的作品《Stria》，是一部具有里程碑意义的电声音乐作品，运用了他围绕黄金分割（1.618...）构建的频率调制（FM）算法。 (0:00) 肖宁于1967年发现的FM合成技术将载波频率与调制频率均置于可闻频带内，通过简单的波形生成了丰富的非谐和金属感与钟声般的声响。 斯坦福大学于1973年将FM合成专利授权给雅马哈，成为该校收益最高的专利之一，并直接促成了GS1（1981年）和DX7（1983年）等商业合成器的诞生。 这段时长五分钟的音频片段展现了该作品复杂的金属质感纹理，并在结尾处附有包括“The End”、“Bye”和“Thank you”在内的口头致谢。 (0:00)

Reading summary

Asymmatrix presents a five-minute excerpt of composer John Chowning's 1977 electroacoustic composition, *Stria*, showcasing frequency modulation (FM) synthesis designed around the golden ratio alongside interspersed spoken remarks. Algorithmic FM Synthesis and Inharmonic Soundscapes (0:00) *Stria* utilizes Chowning's pioneering audio-band frequency modulation (FM) synthesis algorithm to drive an electroacoustic soundscape. The synthesis creates complex, bell-like, and metallic percussion sounds defined by inharmonic spectra structured upon the golden ratio. Spoken Sign-Offs and Track Resolution (0:00) Interspersed over the electronic textures and leading into the end of the recording are vocal expressions and acknowledgments. The recorded transcript includes parting phrases such as “The End,” “Bye,” and repeated iterations of “Thank you” before the track resolves back into synthesized textures at its finish. The excerpt resolves into its final electronic textures following the vocal sign-offs, presenting a brief documentation of Chowning's foundational FM computer music.

精炼阅读摘要

本录音呈现了作曲家约翰·乔宁（John Chowning）于1977年创作的计算机音乐代表作《Stria》的五分钟选段，展示了通过调频（FM）合成算法与黄金比例所构建的独特电声声音景观。 调频合成算法与非谐波音色 (0:00) 《Stria》由乔宁开创的音频范围调频（FM）合成算法驱动。该算法在此作品中用于生成具有金属打击乐特质和类似钟鸣质感的复杂声音结构，其内部的非谐波频谱形态整体基于黄金比例设计与展开。 人声告别与电子音响收尾 (0:00) 在合成器音色纹理的穿插与结尾阶段，音频中录制了说话者的结语与致谢。录音文本记录了反复出现的告别言辞，包括“The End”、“Bye”以及多次表达的“Thank you”，随后音响重新融入电子纹理中完成收尾。 该录音记录了早期计算机音乐中利用调频合成探索非谐波音响的重要实践，但作为仅有五分钟的节选并带有附带的人声结语，材料并未提供关于该作品完整曲式结构或算法工程细节的进一步信息。

Detailed notes — zh

## Background 该内容由频道 Asymmatrix 于 2009 年 8 月 6 日发布在 YouTube 平台。视频简介介绍了作曲家兼学者约翰·乔宁（John Chowning）在 1967 年发现调频合成算法（FM synthesis）的历史，包括该技术授权给雅马哈后催生出 GS1 与 DX7 合成器的商业化历程，并重点介绍了受法国声学与音乐研究所（IRCAM）委约创作的代表作《Stria》（1977）。 ## TL;DR 本内容呈现了电子音乐先驱约翰·乔宁于 1977 年创作的里程碑式作品《Stria》，全曲完全由计算机算法生成。乔宁在 1967 年突破性地发现了音频范围内的 FM 合成算法，通过载波与调制频率的交互，能够以极其简洁的结构合成出复杂的非谐波频谱与金属敲击质感。在《Stria》中，乔宁将这一调频技术与数学上的黄金分割比（约 1.618）深度融合，开创了电子声学音乐的新维度。此外，该算法由斯坦福大学授权给雅马哈后，成为该校史上最盈利的专利之一，并直接促成了划时代合成器 DX7 的诞生。 ## Atmosphere & style 整段音频弥漫着冷峻、空灵且精密严谨的声学美感，纯粹由算法编织出的金属撞击与钟鸣般泛音在虚空中持续回响。由于缺少传统乐器的温热感与常规旋律，冰冷而纯净的非谐波频谱营造出一种超现实的冥想氛围与未来主义质感。听觉体验仿佛置身于一座由数学结构构筑的声学建筑之中，在机械计算与艺术实验的交汇处展现出深邃而神秘的张力。 ## Bulletin - [00:00](https://www.youtube.com/watch?v=988jPjs1gao&t=0s) 约翰·乔宁于1977年创作的里程碑式电子音乐作品《Stria》，由法国声学与音乐研究所（IRCAM）委约，深度融合了调频合成（FM Synthesis）算法与黄金分割比（约1.618）。 - 乔宁于1967年发现调频合成算法，通过将载波频率与调制频率均置于音频范围内，成功模拟出高度逼真的金属敲击声、钟声以及歌唱人声。 - 斯坦福大学于1973年将乔宁的FM合成专利授权给日本雅马哈，该专利一度成为斯坦福史上最吸金的专利，收益超越同期的电子工程与生物技术专利。 - 雅马哈于1981年推出首款应用该技术的合成器GS1，随后于1983年推出了在商业市场上大获成功的划时代调频合成器DX7。 ## Key takeaways - [00:00](https://www.youtube.com/watch?v=988jPjs1gao&t=0s) 《Stria》（1977年）是乔宁受法国声学与音乐研究所（IRCAM）首届“20世纪透视”大型系列音乐会委约创作的代表性电子音乐作品。 - 约翰·乔宁于1967年发现了调频（FM）合成算法，为现代计算机音乐与数字声音合成奠定了基础。 - [00:00](https://www.youtube.com/watch?v=988jPjs1gao&t=0s) 在FM合成中，载波频率和调制频率同时位于可听音频带内，根据两者的频率比例可生成复杂的周期性或非周期性波形。 - 乔宁本身是一名出色的鼓手，他通过FM算法实现了计算复杂度较低但音色极其丰富的金属撞击与铃声等打击乐模拟。 - 乔宁历时六年将这一技术突破完善为成熟的音乐系统，使其能够进一步模拟歌唱人声等极其复杂的声学现象。 - [00:00](https://www.youtube.com/watch?v=988jPjs1gao&t=0s) 在《Stria》中，乔宁将FM算法与数学中的黄金分割比（1.618...）结合，构建了独特的非谐波（inharmonic）声音结构与精密冷峻的美学质感。 - 1973年斯坦福大学将FM技术授权给日本雅马哈（Yamaha），双方携手推进电子琴和数字合成器的研发与产业化。 - 该项FM专利一度成为斯坦福大学历史上收益最丰厚的专利，收入超越了当时许多电子工程、计算机科学及生物技术专利。 - 雅马哈于1981年推出的首款商用数字FM合成器GS1虽具备划时代意义，但因高昂定价导致其普及受限（乔宁本人亦认为其定价过高）。 - 1983年推出的雅马哈DX7成功打破市场壁垒，成为历史上商业普及最为广泛的标志性数字调频合成器之一。 ## Detailed walkthrough ### [00:00](https://www.youtube.com/watch?v=988jPjs1gao&t=0s) 《Stria》（1977）的音乐呈现与调频合成背景 本段音频记录了作曲家兼学者约翰·乔宁（John Chowning）于 1977 年创作的里程碑式计算机音乐作品《Stria》。由于该音轨为纯粹的电子音乐声响，语音识别系统在记录过程中仅捕捉到了带有环境干扰的片段式词句与音乐标识，文本中记录了 “*music*”、“The End”、“Bye.” 以及数次出现的 “Thank you.”，直至全曲在持续的音乐共鸣中走向尾声。整部作品展现了完全由算法生成的独特听觉质感，散发着冷峻且精密的声学美感。 根据该作品的背景资料记载，《Stria》是受法国声学与音乐研究所（IRCAM）委约、为其首个大型系列音乐会“20世纪透视”（Perspectives of the 20th Century）所作的开创性乐曲。乔宁在 1967 年发现了音频范围内的调频合成算法（FM synthesis），彻底改变了电子声音合成的路径。在该算法中，载波频率与调制频率同时处于可听音频带内，通过一个波形的振幅与频率去调制另一个波形的频率，即可依据二者的频率比率生成周期性或非周期性的复杂波形。《Stria》正是乔宁将调频合成技术与数学上的黄金分割比（Golden Mean，约 1.618...）深度结合的代表作，音乐中充满了非谐波（inharmonic）的丰富频谱，营造出如同金属撞击、鸣钟般璀璨且高度逼真的音色。 ```mermaid flowchart TD accTitle: 约翰·乔宁调频合成技术与音乐作品发展脉络 accDescr: 展示约翰·乔宁从1967年发现FM合成算法到雅马哈产品落地及创作《Stria》的技术演进历程。 subgraph S1["算法研发与技术突破"] A["1967年：发现FM合成算法"] --> B["历时6年：研发完善音乐系统"] B --> C["实现敲击声、钟声及歌唱人声模拟"] end subgraph S2["商业化与技术转化"] B --> D["1973年：斯坦福大学专利授权给雅马哈"] D --> E["1981年：雅马哈推出首款数字合成器 GS1"] E --> F["1983年：雅马哈推出商业大获成功的 DX7"] end subgraph S3["音乐艺术创作"] A --> G["1977年：IRCAM 委约创作《Stria》"] G --> H["融合黄金分割比 (1.618...) 与非谐波频谱"] end ``` - **FM 合成技术的突破性意义**：在乔宁的研究之前，利用计算机模拟真实击打乐器非常困难；作为一名经验丰富的鼓手，乔宁利用 FM 合成仅用相对简单的算法便实现了极为丰富的音色，不仅能高度逼真地还原金属撞击声与打击乐，还能合成歌唱人声。 - **斯坦福大学历史上最具价值的专利**：乔宁耗时六年将该突破转化为成熟的音乐系统。1973 年，斯坦福大学将该算法专利独家授权给日本雅马哈（Yamaha）公司，协助其开发电子琴和合成器产品线。该专利一度成为斯坦福大学历史上收益最丰厚的技术专利，其收益甚至超越了当时该校在许多电子工程、计算机科学及生物技术领域持有的专利。 - **标志性硬件设备的诞生**：雅马哈在 1981 年正式推出了首款应用 FM 算法的数字合成器 GS1，尽管当时包括乔宁在内的许多人都认为其售价过高；但很快在 1983 年，雅马哈便推出了在商业上取得空前成功的划时代数字调频合成器 DX7。 ## Mentioned 约翰·乔宁 (John Chowning), 《Stria》, 法国声学与音乐研究所 (IRCAM), 斯坦福大学 (Stanford University), 雅马哈 (Yamaha), 雅马哈 GS1 (Yamaha GS1), 雅马哈 DX7 (Yamaha DX7), “20世纪透视”系列音乐会 (Perspectives of the 20th Century), 调频合成技术 (FM synthesis), 黄金分割比 (Golden Mean) ## Video description John M. Chowning is known for having discovered the FM synthesis algorithm in 1967. In FM (frequency modulation) synthesis, both the carrier frequency and the modulation frequency are within the audio band. In essence, the amplitude and frequency 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. Chowning's breakthrough allowed for simple yet rich sounding timbres, which synthesized 'metal striking' or 'bell like' sounds, and which seemed incredibly similar to real percussion. (Chowning was also a skilled drummer.) 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 1973 Stanford University licensed the discovery to Yamaha in Japan, with whom Chowning worked in developing a family of synthesizers and electronic organs. This patent was Stanford's most lucrative patent at one time, eclipsing many in electronics, computer science, and biotechnology. The first product to incorporate the FM algorithm was Yamaha's GS1, a digital synthesizer that first shipped in 1981. Some thought it too expensive at the time, Chowning included. Soon after, in 1983, Yamaha made their first commercially successful digital FM synthesizer, the DX7. One of Chowning's most famous pieces is called Stria (1977). It was commissioned by IRCAM for the Institute's first major concert series called Perspectives of the 20th Century. His composition was noted for its inharmonic sounds due to his famous FM algorithm and his use of the Golden Mean (1.618...) in music. -Wikipedia [Source](https://www.youtube.com/watch?v=988jPjs1gao)

Original transcript

[0:00] *music* The End The End Bye. Bye. Thank you. Thank you. Thank you. The End The End you Thank you. The End The End *music* [5:00] .