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John Chowning

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John Chowning
John M. Chowning

(1934-08-22) August 22, 1934 (age 89)
Alma materStanford University, CCRMA

John M. Chowning (/ˈnɪŋ/; born August 22, 1934, in Salem, New Jersey) is an American composer, musician, discoverer, and professor best known for his work at Stanford University, the founding of CCRMA - Center for Computer Research in Music and Acoustics in 1975 and his development of the digital implementation of FM synthesis and the digital sound spatialization while there.



Chowning is known for having developed the FM synthesis algorithm in 1967.[1][2][3] 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—in terms of process—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 percussionist). 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 1974, Stanford University licensed the discovery to Yamaha,[4] with whom Chowning worked in developing a family of synthesizers and electronic organs. This was Stanford's most lucrative patent at one time,[5] eclipsing many in electronics, computer science, and biotechnology.

The first commercial musical instrument to incorporate FM synthesis was the Synclavier I, introduced by New England Digital Corporation in 1977. Their Synclavier II, introduced in 1980, was frequently used in the production of popular music beginning that year. The first Yamaha product to incorporate the FM algorithm was the GS1, a digital synthesizer that first shipped in 1981. Some thought, including Chowning, that it was too expensive at the time. Soon after, in 1983, Yamaha made their first commercially successful digital FM synthesizer, the DX7.

Another important aspect of Chowning's work is the simulated motion of sound through physical space.[6] In 1972, in his composition Turenas, he was first able to create the illusion of a continuous 360-degree space using only four speakers.[4]

Early life


Chowning graduated from Wittenberg University with a Bachelor of Music in 1959.[7] He studied music composition for two years (1959–61) with Nadia Boulanger in Paris and received his D.M.A. in 1966 from Stanford, where he studied under Leland Smith. He was the founding director in 1975 of the Center for Computer Research in Music and Acoustics (CCRMA) at Stanford University.[4]

Chowning also worked for a number of years at IRCAM, in Paris.

Private life


Chowning married Elisabeth Keller and they had two children, John and Marianne. John's second marriage is to Maureen (Doody) Tiernay and they had one child named James Scott.

Famous compositions


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.

Other famous compositions include Turenas (1972), which was one of the first electronic compositions to have the illusion of sounds moving in a 360-degree space.[8] With Phoné (1980–1981), he became the first to put FM over voice synthesis.[9]


  • Sabelithe, 1966, revised 1971
  • Turenas, 1972
  • Stria, 1977
  • Phoné, 1980–1981
  • Voices, 2005

See also




Works cited

  • Anon. 2001. "Artificial Voice", translated by Niiki Halpern. Ircam Centre Pompidou archive from 15 July 2007, accessed 26 March 2015).
  • Chowning, John M. 1973. "The Synthesis of Complex Audio Spectra by Means of Frequency Modulation". Journal of the Audio Engineering Society 7, no. 21:526–34. ISSN 0004-7554
  • Johnstone, Robert. 1994. "The Sound of One Chip Clapping: Yamaha and FM Synthesis".
  • Mattis, Olivia. 2001. "Chowning, John M(acLeod)". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.
  • Nelson, Andrew J. 2015. The Sound of Innovation: Stanford and the Computer Music Revolution. Cambridge, MA: MIT Press.
  • Pinch, Trevor, and Frank Trocco. 2004. Analog Days. Cambridge, Massachusetts: Harvard University Press.[ISBN missing]
  • Schottstaedt, Bill. n.d. "An Introduction To FM – Bill Schottstaedt: "John Chowning tells me that he stumbled on FM when he sped up vibrato to the point that it was creating audible sidebands (perceived as a timbral change) rather than faster warbling (perceived as a frequency change)."
  • Tyranny, "Blue" Gene. n.d. "Review: John Chowning: Phone [sic] (1980–1981) / Turenas (1972) / Stria (1977)/ Sabelithe (1971)". Allmusic website (accessed 26 March 2015).
  • Chowning, John M. "Method and apparatus for simulating location and movement of sound" [1] (accessed 07 July 2021).

Further reading