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In music, tape loops are loops of magnetic tape used to create repetitive, rhythmic musical patterns or dense layers of sound when played on a tape recorder. Originating in the 1940s with the work of Pierre Schaeffer, they were used among contemporary composers of 1950s and 1960s, such as Steve Reich, Terry Riley, and Karlheinz Stockhausen, who used them to create phase patterns, rhythms, textures, and timbres. Popular music authors of 1960s and 1970s, particularly in psychedelic, progressive and ambient genres, used tape loops to accompany their music with innovative sound effects. In the 1980s, analog audio and tape loops with it gave way to digital audio and application of computers to generate and process sound. ==Description== In a tape loop, sound is recorded on a section of magnetic tape and this tape is cut and spliced end-to-end, creating a circle or loop which can be played continuously, usually on a reel-to-reel machine. By accelerating the speed of a loop to a sufficient degree (e.g., 1,280 times faster), a sequence of events originally perceived as a rhythm becomes heard as a pitch, and variation of the rhythm in the original succession of events produces different timbres in the accelerated sound (; ). Simultaneous playing of tape loops to create phrase patterns and rhythms was developed and initially used by musique concrète and tape music composers, and was most extensively utilized by Steve Reich for his "phasing" pieces such as "Come Out" (1966) and "It's Gonna Rain" (1965), and by Karlheinz Stockhausen in ''Gesang der Jünglinge'' (1955–56) and ''Kontakte'' (1958–60). Stockhausen also used the technique for live performance in ''Solo'' (1965–66). If, instead of simply playing back a recorded loop, something is done to progressively alter the recorded material between cycles, such as re-recording the sound as it passes the playback head or adding new material to the loop, then a process of change will occur in the content, quality, complexity, or perception—or some combination of them . The length of the loop controls the length of the repeated sound, and combines with the desired content of the composer to create a single tape loop. On a standard reel-to-reel, one loop is, at most, a few seconds of music or sound. Some composers were satisfied with this approach, but there were other methods to allow for longer loops. For example, placing two reel-to-reel machines side by side and stringing the tape between them, using one machine for playback and the other simply as a pulley for the length of tape allowed for longer loop times. By using this or other methods, some composers could create very long loops which allowed for lengthier fragments of sound. When recording his landmark 1978 ambient album ''Music for Airports'', Brian Eno reported that for a particular song, "One of the tape loops was seventy-nine feet long and the other eighty-three feet" . The longest tape loop ever created was made by Barry Anderson for performances of Stockhausen's ''Solo'' . 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Tape loop」の詳細全文を読む スポンサード リンク
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