Gordon Mumma (b. 1935) composed and performed music with live electronics alone or in collaboration with such central figures as John Cage, David Tudor, or Robert Ashley. This activity, closely linked to the American experimentalist tradition, grew out of his first youthful electronic essays on the University of Michigan campus, his work in Milton Cohen’s Space Theater beginning in 1957, and then at the ONCE festival from 1961. It was in Ann Arbor, Michigan that Mumma set up his first electronic music home studio, a pioneering effort that was so innovative that Mumma would publish an article on home studio building in the Journal of the Audio Engineering Society in 1964. This paper traces Mumma’s studio heuristic by reporting on the results of a digital recreation project by the author, in collaboration with Francis Lecavalier (programming) and Ofer Pelz (electronic performance), of one of Mumma’s iconic live electronic works, Mesa (1966), for bandoneon and live electronics. By synthesising information culled from an electronics schematic diagram, two recordings of the work, the composer’s contemporaneous writings and published interviews, but most importantly, an email correspondence stretching over the two years that preceded the performance of Mesa at the Montreal New Musics Festival on 27 February 2017, the ‘DIY’ practices of this early live electronic creation come into focus. Mesa’s apparatus involves the following essential elements: 1) ring modulation 2) a gate matrix that only sends signals beyond a given threshold to the effects modules 3) four input channels consisting of two piezo microphones on either side of the bandoneon as well as 4) a corresponding quadraphonic output to four speakers. The author contends that in an open-ended creation like Mesa, the work’s ontology is coeval with the scope of its technical apparatus.

戈登·玛玛（Gordon Mumma，生于1935年）独自或与现场电子设备合作，或与约翰·凯奇（John Cage），大卫·都铎（David Tudor）或罗伯特·阿什利（Robert Ashley）等主要人物合作创作音乐。这项活动与美国实验家的传统紧密相关，源于他在密歇根大学校园的第一篇年轻的电子文章，他于1957年开始在密尔顿·科恩（Milton Cohen）的太空剧院工作，然后于1961年参加了ONCE电影节。 Mumma成立了他的第一个电子音乐家庭工作室，这是密歇根州的Arbor，这是一项开创性的工作，其创新性使得Mumma会在《音频工程学会杂志》上发表有关家庭工作室建设的文章。1964年。本文通过报告作者与Francis Lecavalier（编程）和Ofer Pelz（电子表演）合作完成的一项数字娱乐项目的结果，追溯了Mumma的工作室启发式技术，该项目是Mumma的标志性现场电子作品Mesa（ 1966年），用于手风琴和现场电子产品。通过综合从电子原理图中收集的信息，两张作品的录音，作曲家的同期著作和发表的采访，但最重要的是，这是两年前在梅萨在27日蒙特利尔新音乐节上演出之前的一封电子邮件通讯。 2017年2月，这种早期的实时电子创作的“ DIY”实践成为焦点。台面的设备涉及以下基本要素：1）环形调制2）仅将超出给定阈值的信号发送到效果模块的门矩阵3）四个输入通道，由bandoneon两侧的两个压电麦克风以及4个）到四个扬声器的相应四声道输出。作者认为，在像Mesa这样的开放式创作中，该作品的本体与它的技术装置范围是一致的。