Talk:Ondes Martenot/Japanese

Note: this is a Work-in-progress translation from the Japanese article

History

Ondes musicales

First called Ondes musicales, it is now called the Ondes Martenot, taking the name of the inventor. The final instrument called the ondes Martenot is the fifth generation in general, most of the work written for Ondes Martenot can be performed on a fifth generation instrument.

First generation (1918)

The first generation instrument almost exactly mimics the principle of the theremin. This is not just simply duplicate the original theremin of course Maurice Martenot and ondes Martenot is not considered. For more information, see the section of the theremin. In First World War Martenot served as a communication technician and studied effects of the triode valve, like Theremin when he constructed his instrument.

Second Generation (1928)

The theremin is almost the same as the first generation. Whereas with the theremin, changes of pitch are controlled by the position of the hand in relation to an antenna, with the second generation ondes Martenot, pitch was controlled by the tension of the string. This is the origin of the ribbon (ruban). Still without a keyboard, it is just a box-shaped instrument. The player stands at some distance from the instrument, holding the ribbon, which makes the technique still similar to playing the theremin. A switch and volume control is operated with the left hand. This is a prototype of the touche. [touche d'intensité - expression control key] This is MArtenot's first distinctive invention. He performed a concert at the Paris Opera in the fall of 1928 usin this instrument.

Third Generation (1931) [ edit ]

The third generation has a painted "dummy" keyboard that gives pitch orientation for playing the ribbon.

Fourth Generation (1932) [ edit ]

The fourth generation has an improved playable keyboad, however the ribbon is still played from the distance, so switching between these two techniques is impractical.

[Here's a section I couldn't translate...]

伊福部昭の著書「管絃楽法」のオンド・マルトノの項目では、楽器構造の説明に dummy keyboard と書かれているが、この記述はこの第4世代楽器によるものと思われる. また同じ本ではリボン奏法に関して


 * 実際の演奏にあつては、このRingの左右移動は右手の担当する処であるが、Martenotにあつては、此の奏法の他に、単にWW1に連る紐を前後に引くもの、叉、鍵盤に手を触れることに依つても発音し得る様に作られたもの等がある. 此の様に右手には三種の操作法がある.

と書かれているが（下線部編集者加筆）、この前後に引く紐は第2世代から第4世代まで用いられた. なお下記の第5世代からはこの紐（リボン）を前後に引く奏法は採用されず、現在の操作法はリボンを平行に操る奏法と鍵盤奏法の2種類である.

5th Generation (1935)

The general design of the Ondes Martenot major appearance that we're seeing now is determined by the fifth generation. Structure for the next chapter. Original songs written for Hondo Marutono, except for some songs, such as was used in the second-generation debut concert, which applies to almost all models of this generation and beyond. The frame made from bent resined wood, as well as the distinctive design of the music stand also appears with the fifth generation.

6th Generation (1950) The metallic and "Palme" speakers are added to the standard speaker.

Seventh generation (1974)

The valves of the original design are replaced with transistors. The control panel was redesigned to facilitate its operation. Pink noise was added as a timbre. The ribbon is now made of steel wire to facilitate operation.

Eighth generation (1980)

The final model developed by Maurice Martenot studio. Based on the harmonic triad can be played simultaneously. This is to imitate the structure of the organ stops. The studio later Marutono Maurice has not officially announced a successor model. But another company, "Ondea" has been developed to further develop a model called the successor. Detailed below.