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In the past two or three years we have seen several significant advances in studio techniques for the realization of synthesized music - particularly in the areas of digital equipment and in the use of research data on the characteristics of natural instruments. This paper subsumes the exposition of some of these developments in an explanation of the author's synthesis of a specific orchestral work, the first movement of Gustav Holst's The Planets (1921). A taped performance will be presented.
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