Invitation du département Recherche et Développement de la Lepetit Pharmaceutical Company, Milan (Italie).

Teitelbaum jouait un système qui comprenait un synthetiseur Moog, and EEG (electroencephalograph) applied to frequency modulate four voltage controlled oscillators, and also to control the amplitude and filtering of these audio signals. The EEG signal was split and the degree of modulation was controllable by attenuators on each control input. The bandwidth of the audio signals could therefore be continuously varied from single (sine tone) frequencies to complex broadband sounds approaching noise.the center frequency of each oscillator was set in a separate audio range, widely spaced from treble to bass. The sound system in the auditorium at Lepetit had many loudspeakers set in the walls, completely surrounding the audience.
[Richard Teitelbaum , “IN TUNE: SOME EARLY EXPERIMENTS IN BIOFEEDBACK MUSIC. (1966–74)”, pp. 35-56, p. 39-41, http://faculty.bard.edu/~teitelba/writings/biofeedback.pdf ]

Histoire de l’oeuvre, fonctionnement et ‘partition’ ont été publiés dans Richard Teitelbaum , “IN TUNE: SOME EARLY EXPERIMENTS IN BIOFEEDBACK MUSIC. (1966–74)”, in Biofeedback and the Arts, Results of Early Experiments, sous la direction de David Rosenboom, Vancouver: Aesthetic Research Centre of Canada, 1976, pp. 35-56, http://faculty.bard.edu/~teitelba/writings/biofeedback.pdf (lien vérifié en Juin 2021).