I use a particular scoring system for planning and documenting loop compositions and performances (I call them Kaleidograms), and one of the inspirations (along with Islamic rhythm pie-charts and Takemitsu and Riley graphic scores) is just such a piece by Bull
From: Ed Durbrow [mailto:email@example.com]
And in the treble and ground lute duets of the 16th century, the ground part consisted of 2-16 measures that were repeated over and over while the treble part had variations over the top.
On Oct 19, 2014, at 11:12 PM, Ivodne Galatea <firstname.lastname@example.org> wrote:
It's from the New Atlantis by Francis Bacon, and it goes
"We have also sound-houses, where we practice and demonstrate all sounds and their generation. We have harmonies, which you have not, of quarter-sounds and lesser slides of sounds. Divers instruments of music likewise to you unknown, some sweeter than any you have, together with bells and rings that are dainty and sweet. We represent small sounds as great and deep, likewise great sounds extenuate and sharp; we make divers tremblings and warblings of sounds, which in their original are entire. We represent and imitate all articulate sounds and letters, and the voices and notes of beasts and birds. We have certain helps which set to the ear do further the hearing greatly. We also have divers strange and artificial echoes, reflecting the voice many times, and as it were tossing it, and some that give back the voice louder than it came, some shriller and some deeper; yea, some rendering the voice differing in the letters or articulate sound from that they receive. We have also means to convey sounds in trunks and pipes, in strange lines and distances."
which just has to be first conscious description of artificially delayed and enhanced reproduction of an original sound. An of the internet too if it comes to that.
The rest of it's pretty good too - http://www.bartleby.com/3/2/3.html
Apologies to those for whom this is old hat