Episodi
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Episode 161
Chapter 22, Electronic Music in Canada. Works Recommended from my book, Electronic and Experimental Music
This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text.
The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings.
There is a complete playlist for this episode on the website for the podcast.
Let’s get started with the listening guide to Chapter 22, Electronic Music in Canada from my book Electronic and Experimental music.
Playlist: ELECTRONIC MUSIC IN CANADA
Time
Track Time
Start
Introduction –Thom Holmes
01:34
00:00
1. Hugh LeCaine, “Dripsody: An Etude For Variable Speed Recorder” (1955). One of the earliest pieces of tape music by the inventor and composer Hugh Le Caine. Also, one of the most available works from the early years when it was used to demonstrate simple techniques of tape composition. It is probably the most-played work of electronic music other than “Poeme Electronique” by Varese. Every sound in this work is based on a recording of a single drop of water falling into a bucket, which then underwent various speed adjustments and edits to create this composition.
2:12
01:38
2. Hugh LeCaine, “Ninety-Nine Generators” (1956). The title refers to the 99 tones of the touch sensitive organ. Each note had a separate generator and they could all sounds at the same time.
1:42
03:40
3. Hugh LeCaine, “This Thing Called Key” (1956). Le Caine composed on his Special Purpose Tape Recorder using individual tape playback heads for six tapes, activated by keys.
1:53
05:22
4. Anhalt, “Electronic Composition No. 2” (1959).
8:47
07:16
5. Norma Beecroft, “From Dreams of Brass” (1964). Norma Beecroft is a Canadian composer, producer, broadcaster, and arts administrator. Among the pioneering academic electronic music composers, she worked independently in the Electronic Music Studio of the University of Toronto.
15:59
16:04
6. Paul Pedersen, “For Margaret, Motherhood And Mendelssohn” (1971). Composed at McGill University where Pedersen was director of the electronic music studio. The electroacoustic work uses fragments of speeches such as prime minister Pierre Trudeau’s and the electronic sounds were composed using Le Caine’s Polyphonic Synthesizer.
4:21
32:02
7. Micheline Coulombe Saint-Marcoux, “Zones” (1972). Musique électroacoustique réalisée au Sonic Research Studio, Université Simon Fraser, Vancouver. An exploration of different instrumental timbres using electroacoustic music.
9:02
36:22
8. Alcides Lanza, “Eidesis IV For Wind Ensemble And Electronic Sounds” (1977). Lanza studied music in Buena Aires, moved to Canada in 1971, and became Director of the Electronic Music Studio of McGill University in 1976.
11:20
45:24
9. John Mills-Cockell, “Collision” from Gateway (1977). Produced, engineered, organ and synthesizer by independent Canadian musician John Mills Cockell.
03:32
56:54
10. Dennis Patrick, “Phantasy III (Excerpt)” (1977-78). Completed in the Electronic Music Studio of the University of Toronto, where he was Director of the studio beginning around 1976.
04:53
01:00:26
11. Hildegard Westerkamp, “Cricket Voice” (1987). This work is a “musical exploration of the cricket,” with a cricket sound recorded in Mexico. If you know crickets, you will note that this one is not Canadian. But the composer is and this work was produced at the Simon Fraser University in Vancouver where Westerkamp was teaching at the time.
11:09
01:05:20
12. Ann Southam, “Fluke Sound” (1989). Southam is another female Canadian composer of note. She is from the Toronto area. This work is from a period when she was immersed in electroacoustic music.
10:22
01:16:16
13. Norma Beecroft, “Evocations: Images Of Canada (1992). In contrast to the earlier tape works of Beecroft, this is a purely digital composition. She used an Apple Macintosh, the program/sequencer Performer and a Roland D-70 synthesizer.
16:01
01:26:30
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.
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Episode 162
Chapter 23, Radiophonic Music in the United Kingdom. Works Recommended from my book, Electronic and Experimental Music
This episode of the podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text.
The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings.
There is a complete playlist for this episode on the website for the podcast.
Let’s get started with the listening guide to Chapter 23, Radiophonic Music in the United Kingdom from my book Electronic and Experimental music.
Playlist: RADIOPHONIC MUSIC IN THE UNITED KINGDOM
Time
Track Time
Start
Introduction –Thom Holmes
01:36
00:00
1. Daphne Oram, “Introduction to Oramics” (1960). Introduction to her Oramics studio and processes for making electronic music. Voice and musical examples by Daphne Oram, recorded in her home studio Tower Folly, Kent.
04:37
01:38
2. Daphne Oram, “Four Aspects” (1960). Tape composition by Daphne Oram recorded in her home studio Tower Folly, Kent.
08:07
06:14
3. Delia Derbyshire, “Doctor Who Theme” (Closing Credits) (1962). The most famous version of this theme for the popular television program, composed by Ron Grainer and realized by Derbyshire at the BBC studios.
02:23
14:20
4. Ray Cathode (George Martin), “Time Beat” (1962). Produced at the BBC Radiophonic Workshop. Written and produced by George Martin, around the time when he was starting his production work with The Beatles.
02:11
16:40
5. Ray Cathode (George Martin), “Waltz in Orbit” (1962). Produced at the BBC Radiophonic Workshop. Written and produced by George Martin, around the time when he was starting his production work with The Beatles.
01:52
18:52
6. Daphne Oram, “Costain Suite” (1964). Tape composition by Daphne Oram recorded in her home studio Tower Folly, Kent.
13:17
20:44
7. Delia Derbyshire, “Running” (1964). One of the seven parts from the “radio inventions” called "The Dreams," first broadcast on the BBC Third Programme, Sunday 5th January 1964.
08:08
34:02
8. Delia Derbyshire, “Falling” (1964). One of the seven parts from the “radio inventions” called "The Dreams," first broadcast on the BBC Third Programme, Sunday 5th January 1964.
08:45
42:08
9. Delia Derbyshire, “Land” (1964). One of the seven parts from the “radio inventions” called "The Dreams," first broadcast on the BBC Third Programme, Sunday 5th January 1964.
07:02
50:54
10. Daphne Oram, “Pulse Persephone” (1965). Tape composition by Daphne Oram recorded in her home studio Tower Folly, Kent.
04:03
58:06
11. Tristram Cary, “Sputnik Code” (1968). Cary was a British composer and pioneer of electronic music. He composed this work for a movie soundtrack.
01:50
01:02:08
12. Lily Greenham, “ABC in Sound” (1968). Early tape work by this pioneer of electronic music in the UK. Greenham was an Austrian-born Danish visual artist, performer, composer and leading proponent of sound poetry and concrete poetry. She settled in London.
02:39
01:04:02
13. White Noise (Delia Derbyshire, David Vorhaus, Brian Hodgson), “The Black Mass: An Electric Storm In Hell (The White Noise)” (1969). Experimental electronic music project established in London in 1968, originally as a group project between David Vorhaus and BBC Radiophonic Workshop members Delia Derbyshire and Brian Hodgson. Vocals by Annie Bird, John Whitman, Val Shaw.
07:20
01:06:40
14. White Noise (Delia Derbyshire, David Vorhaus, Brian Hodgson), “Your Hidden Dreams” (1969). Experimental electronic music project established in London in 1968, originally as a group project between David Vorhaus and BBC Radiophonic Workshop members Delia Derbyshire and Brian Hodgson. Vocals by Annie Bird, John Whitman, Val Shaw.
04:55
01:13:58
15. White Noise (Delia Derbyshire, David Vorhaus, Brian Hodgson), “Love Without Sound” (1969). Experimental electronic music project established in London in 1968, originally as a group project between David Vorhaus and BBC Radiophonic Workshop members Delia Derbyshire and Brian Hodgson. Vocals by Annie Bird, John Whitman, Val Shaw.
03:07
01:18:52
16. Electrophon (Brian Hodgson, Dudley Simpson), “Arrival of the Queen of Sheba” (Händel) (1973). Electronic interpretations of classical music for various synthesizers.
03:04
01:22:00
17. Paddy Kingsland, “Fourth Dimension” (1973). Produced by Kingsland for the BBC Radiophonic Workshop. “The synthesisers used on this disc are both British, and both made by E.M.S. of London. They are the VCS3, an amazingly versatile miniature synthesiser, and its big brother, the Synthi '100', known within the Radiophonic Workshop as 'The Delaware', after the address of the Workshop.”
02:19
01:25:02
18. Lily Greenham, “Traffic” (1975). Realized at the Electronic Music Studio, Goldsmiths' College, University of London. Technical Assistance, Hugh Davies.
10:33
01:27:18
19. White Noise (David Vorhaus), “Concerto Movement 1” (1975). Used what Vorhaus called the Kaleidophon Synthesizer that included two EMS VCS 3’s connected via a console of electronic modules he designed.
11:33
01:37:50
20. Delia Derbyshire, “Dreaming” (1976). Produced for the BBC Radiophonic Workshop as a work to accompany a television program.
01:13
01:49:18
21. Glynis Jones, “Crystal City” (1976). Produced for the BBC Radiophonic Workshop as a work to accompany a television program.
01:01
01:50:30
22. Glynis Jones, “Magic Carpet” (1976). Includes three shorts works, Magic Carpet Take-Off, Magic Carpet Flight and Magic Carpet Land. Produced for the BBC Radiophonic Workshop as sound effects.
00:50
01:51:30
23. Brian Hodgson, “Tardis Land” (1976). Produced for the BBC Radiophonic Workshop as a sound effect.
00:23
01:52:22
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.
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Episodi mancanti?
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Episode 160
Chapter 21, The San Francisco Tape Music Center. Works Recommended from my book, Electronic and Experimental Music
Welcome to the Archive of Electronic Music. This is Thom Holmes.
This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text.
The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings.
There is a complete playlist for this episode on the website for the podcast.
Let’s get started with the listening guide to Chapter 21, The San Francisco Tape Music Center from my book Electronic and Experimental music.
Playlist: THE SAN FRANCISCO TAPE MUSIC CENTER
Time
Track Time
Start
Introduction –Thom Holmes
01:30
00:00
1. Terry Riley, “Mescalin-Mix” (1960-62). Early tape collage and one of Riley’s first works for tape.
14:23
01:38
2. Terry Riley, “Concerto For Two Pianos and Five Tape Recorders” )1961). Piano, LaMonte Young; piano and tape assemblage, Terry Riley. Recorded live. 1961 Riley-Terry_ConcertoForTwoPianos-b.wav
04:36
15:56
3. Pauline Oliveros, “Apple Box Double” (performance 2008). This piece was composed for various configurations of apple crates that were touched and scraped with various objects while being amplified. The original dates from about 2006. This performance by Seth Cluett and Oliveros took place in 2008.
12:45
20:30
4. Steve Reich, “Melodica” (1966). Tape piece and the last of Reich’s works before moving onto instrumental composition in his minimalist style.
10:42
33:16
5. Morton Subotnick, “Laminations” (1966). For orchestra and electronic sounds, on tape. By this point, Subotnick was working with an early model of a synthesizer built for the San Francisco Tape Music Center by Donald Buchla. This synthesizer material was also used for the opening of Silver Apples of the Moon the following year.
10:29
44:08
6. Morton Subotnick, “Prelude No.4 for piano and electronic tape (1966). Another Subotnick work for instruments and tape with synthesized electronic sounds.
06:58
54:36
7. Pauline Oliveros, “Alien Bog” (1967). Utilizing the original Buchla Box 100 series created for the Tape Music Center by Don Buchla and a tape delay system.
33:17
01:01:30
8. Morton Subotnick, “Silver Apples of the Moon” (1967). Subotnick, recently departed from San Francisco and taking up shop at New York University, brought synthesizers constructed for him by Don Buchla when he was at the San Francisco Tape Music Center. This electronic composition represented a high point for the use of synthesizers at that time and was recorded on commission from Nonesuch Records.
32:01
01:35:00
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.
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Episode 159
Chapter 20, The Experimental Music Studio, University of Illinois. Works Recommended from my book, Electronic and Experimental Music
Welcome to the Archive of Electronic Music. This is Thom Holmes.
This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text.
The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings.
There is a complete playlist for this episode on the website for the podcast.
Playlist: THE EXPERIMENTAL MUSIC STUDIO, UNIVERSITY OF ILLINOIS
Time
Track Time
Start
Introduction –Thom Holmes
01:32
00:00
1. Lejaren Hiller, “Nightmare Music” (1961). Tape composition produced at the Experimental Music Studio, University of Illinois.
09:41
01:34
2. Charles Hamm, “Canto, For Soprano, Speaker & Chamber Ensemble” (1963). Produced at the Experimental Music Studio, University of Illinois.
06:25
11:16
3. Lejaren Hiller, “Computer Cantata, For Soprano, Chamber Ensemble and Tape” (1963). Produced at the Experimental Music Studio, University of Illinois.
23:09
17:38
4. Herbert Brün, “Futility, For Speaker And Tape” (1964). Produced at the Experimental Music Studio, University of Illinois.
07:50
40:34
5. Lejaren Hiller, “Machine Music, For Piano, Percussion And Tape” (1964). Produced at the Experimental Music Studio, University of Illinois.
13:15
48:22
6. Kenneth Gaburo, “Lemon Drops” (1965). Tape composition produced at the Experimental Music Studio, University of Illinois.
02:55
01:01:40
7. Salvatore Martirano, “Underworld” (1965). Tape composition produced at the Experimental Music Studio, University of Illinois.
16:55
01:04:36
8. Kenneth Gaburo, “For Harry” (1966). Tape composition produced at the Experimental Music Studio, University of Illinois.
03:41
01:21:32
9. Lejaren Hiller, “Suite For Two Pianos And Tape” (1966). Produced at the Experimental Music Studio, University of Illinois.
18:30
01:25:16
10. Lejaren Hiller, “Computer Music for Tape & Percussion” (1968). Produced at the Experimental Music Studio, University of Illinois.
06:52
01:43:42
11. Salvatore Martirano, “The SalMar: Part One” (1983). Performance by Martirano in Paris in 1983 using the one-of-a-kind Sal-Mar Construction designed for real-time performance of electronic music. It was created from 1969 to 1972 at the University of Illinois.
18:59
01:50:26
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.
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Episode 158
Chapter 19, The Cooperative Studio for Electronic Music, Ann Arbor. Works Recommended from my book, Electronic and Experimental Music
Welcome to the Archive of Electronic Music. This is Thom Holmes.
This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text.
The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings.
There is a complete playlist for this episode on the website for the podcast.
Playlist: THE COOPERATIVE STUDIO FOR ELECTRONIC MUSIC, ANN ARBOR
Time
Track Time
Start
Introduction –Thom Holmes
01:34
00:00
1. Gordon Mumma, “Music from the Venezia Space Theater” (1963-64). Tape composition produced with Robert Ashley at the Cooperative Studio for Electronic Music in Ann Arbor, for Milton Cohen’s Space Theater.
12:01
01:38
2. Robert Ashley and Bob James Trio, “Wolfman” (1965). Tape composition produced at the Cooperative Studio for Electronic Music in Ann Arbor.
06:08
13:25
3. Robert Ashley, Gordon Mumma and Bob James Trio, “Untitled Mixes” (1965). Tape composition produced at the Cooperative Studio for Electronic Music in Ann Arbor.
05:19
19:34
4. Gordon Mumma and Bob James Trio, “And On” (1965). Tape composition produced at the Cooperative Studio for Electronic Music in Ann Arbor.
08:54
24:50
5. Gordon Mumma, “The Dresden Interleaf 13 February 1945” (1965). Tape composition produced at the Cooperative Studio for Electronic Music in Ann Arbor.
12:20
33:54
6. Robert Ashley, “She was a Visitor” (1967). Tape composition produced at the Cooperative Studio for Electronic Music in Ann Arbor.
05:56
46:00
7. Gordon Mumma, “Horn” (1967). Tape composition produced at the Cooperative Studio for Electronic Music in Ann Arbor.
06:22
51:54
8. Robert Ashley, Purposeful Lady Slow Afternoon (1968). Tape composition produced at the Cooperative Studio for Electronic Music in Ann Arbor.
10:15
58:18
9. Alvin Lucier, “Vespers” (1969). Performance piece for echolocating devices, first produced in Ann Arbor at the Once Festival.
10:03
01:08:27
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.
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Episode 157
Chapter 18, The Columbia– Princeton Electronic Music Center, New York. Works Recommended from my book, Electronic and Experimental Music
Welcome to the Archive of Electronic Music. This is Thom Holmes.
This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text.
The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings.
There is a complete playlist for this episode on the website for the podcast.
Playlist: THE COLUMBIA–PRINCETON ELECTRONIC MUSIC CENTER, NEW YORK
Time
Track Time
Start
Introduction –Thom Holmes
01:31
00:00
1. Vladimir Ussachevsky, “Sonic Contours” (1952). Tape composition produced at the Columbia-Princeton Electronic Music Center.
07:24
01:36
2. Otto Luening and Vladimir Ussachevsky, “Incantation For Tape” (1953). Tape composition produced at the Columbia-Princeton Electronic Music Center.
02:36
08:56
3. Vladimir Ussachevsky, “Linear Contrasts” (1958). Tape composition produced at the Columbia-Princeton Electronic Music Center.
03:46
11:28
4. Halim El Dabh, “Electronics And The Word” (1959). Tape composition produced at the Columbia-Princeton Electronic Music Center.
02:47
15:14
5. Mario Davidovsky, “Electronic Study No. 1” (1960). Tape composition produced at the Columbia-Princeton Electronic Music Center.
05:44
17:56
6. Otto Luening, “Gargoyles” (1960). Tape composition produced at the Columbia-Princeton Electronic Music Center.
09:27
23:42
7. Vladimir Ussachevsky, “Wireless Fantasy” (1960). Tape composition produced at the Columbia-Princeton Electronic Music Center.
04:37
33:08
8. Ihan Mimaroglu, “Prelude No. 8 (To the memory of Edgard Varèse)” (1966). Tape composition produced at the Columbia-Princeton Electronic Music Center.
04:00
37:44
9. Pril Smiley, “Eclipse” (1967). Tape composition produced at the Columbia-Princeton Electronic Music Center.
07:56
41:38
10. Milton Babbitt, “Occasional Variations” (1968-71). Tape composition produced at the Columbia-Princeton Electronic Music Center.
09:56
49:46
11. Bülent Arel, “Stereo Electronic Music No. 2 (1970). Tape composition produced at the Columbia-Princeton Electronic Music Center.
14:24
59:41
12. Charles Dodge, “Changes” (1970). Tape composition produced at the Columbia-Princeton Electronic Music Center.
14:44
01:14:00
13. Alice Shields, “The Transformation Of Ani” (1970). Tape composition produced at the Columbia-Princeton Electronic Music Center.
09:05
01:28:44
14. Daria Semegen, “Electronic Composition No.1” (1971). Tape composition produced at the Columbia-Princeton Electronic Music Center.
05:53
01:37:48
15. Bülent Arel and Daria Semegen, “Out Of Into” (1972). Tape composition produced at the Columbia-Princeton Electronic Music Center.
16:39
01:43:34
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.
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Episode 156
Chapter 17, John Cage in the United States. Works Recommended from my book, Electronic and Experimental Music
Welcome to the Archive of Electronic Music. This is Thom Holmes.
This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text.
The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings.
There is a complete playlist for this episode on the website for the podcast.
Playlist: EARLY ELECTRONIC MUSIC IN THE UNITED STATES
Time
Track Time
Start
Introduction –Thom Holmes
01:25
00:00
1. Louis and Bebe Barron, “The Bells of Atlantis” (1952), soundtrack for a film by Ian Hugo based on the writings of his wife Anaïs Nin (who’s voice you will hear). Tape composition produced at the Barron’s studio (New York).
09:01
01:38
2. Williams Mix (1952) by John Cage. Tape composition produced at the Barrons’ studio (New York).
05:42
10:40
3. Otto Luening and Vladimir Ussachevsky, “Moonflight” (1952) Tape composition produced at the composer’s Tape Music Center at Columbia University, the precursor of the Columbia-Princeton Electronic Music Center.
02:54
16:20
4. Henry Jacobs, “Sonata for Loudspeakers” (1953-54). Tape composition produced at radio station KPFA-FM in Berkeley.
09:29
19:12
5. Jim Fassett, track “B2” (Untitled) (1955). From the album, Strange To Your Ears. Tape composition produced at CBS radio.
08:15
28:38
6. Harry F. Olsen, “The Well-Tempered Clavier: Fugue No. 2” (Bach), “Nola” (Arndt) and “Home, Sweet Home” (1955). Disc composition created on RCA Mark I Music Synthesizer at Princeton University.
05:26
36:54
7. John Cage, “Fontana Mix” (1958). Tape composition produced by Cage at Studio di Fonologia of the Italian Radio (Milan).
11:33
42:33
8. Tod Dockstader, “Drone” (1962). Tape composition produced privately by the composer (Los Angeles).
13:24
54:06
9. Kenneth Gaburo, “Lemon Drops (Tape Alone)” (1965). Tape composition produced at the studio for Experimental Music of the University of Illinois.
02:52
01:07:30
10. Jean Eichelberger Ivey, “Pinball” (1965) from Electronic Music (1967 Folkways). Tape composition produced at the Electronic Music Studio of Brandeis University.
06:12
01:10:20
11. Pauline Oliveros, “Bye Bye Butterfly” (1965). Tape composition produced at the San Francisco Tape Music Center.
08:05
01:16:32
12. Olly W. Wilson, “Cetus” (1967). Tape composition produced at the studio for Experimental Music of the University of Illinois.
09:18
01:24:36
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.
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Episode 155
Chapter 16, Other European Electronic Music Studios. Works Recommended from my book, Electronic and Experimental Music
Welcome to the Archive of Electronic Music. This is Thom Holmes.
This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text.
The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings.
There is a complete playlist for this episode on the website for the podcast.
Playlist: OTHER EUROPEAN ELECTRONIC MUSIC STUDIOS
Time
Track Time
Start
Introduction –Thom Holmes
01:34
00:00
1. Luciano Berio, “Mutazioni” (1955). Tape composition produced at the RAI studio (Milan).
03:36
01:38
2. Luciano Berio and Bruno Maderna, “Ritatto di Città (poema radiofonico)” (1955). Tape composition produced at the RAI studio (Milan).
06:05
05:14
3. Bruno Maderna, “Notturno” (1956). Magnetic tape composition, RAI studio (Milan).
03:24
11:16
4. Dick Raajimakers, “Song of the Second Moon” (1957). Tape composition produced at the Philips Research Laboratories (Eindhoven).
03:08
14:40
5. Luciano Berio, “Thema–Omaggio a Joyce” (1958). Early text-sound composition using magnetic tape. RAI studio (Milan).
06:24
17:48
6. Tom Dissevelt, “Whirling” (1958). Tape composition produced at the Philips Research Laboratories (Eindhoven).
02:37
23:56
7. Luigi Nono, “Omaggio A Vedova” (1960). Tape composition produced at the R.A.I. (Rome).
04:52
26:32
8. Pietro Grossi, Marino Zuccheri, “Progetto II e III” (1961). Tape composition produced at the Studio Di Fonologia Musicale Di Firenze (S 2F M) (Florence).
02:56
31:24
9. Ake Karlung, “Antihappening” (1962). Tape composition produced at the studio of ABF, Stockholm (Norway).
03:51
34:20
10. Alfred Janson, “Canon” (1964). Tape composition produced in his private studio (Norway).
12:27
38:08
11. Lars-Gunnar Bodin, “Den heter ingenting, den heter nog ‘Seans 2’” (1965. Tape composition produced in the studios of Swedish Radio (Stockholm).
16:00
50:46
12. Gruppo NPS (Rampazzi, Marega, Chiggio, Meiners, Alfonsi), “Ricerca 4” (1965). Gruppo Nuove Proposte Sonore (NPS) (Padua).
05:46
01:06:46
13. Arne Nordheim, “Response I” (1966) for 2 percussion groups and magnetic tape. Tape composition produced at NRK radio (Oslo).
18:09
01:12:32
14. Enore Zaffiri, “Musica Per Un Anno” (1968, excerpt). Tape composition produced at the Studio di Musica Elettronica di Torino (SMET) (Torino).
13:41
01:30:41
15. Teresa Rampazzi, “Duodeno normale” (1972). Tape composition produced at the Gruppo Nuove Proposte Sonore (NPS) (Padua).
01:27
01:44:24
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.
-
Episode 154
Chapter 15, Elektronische Musik in Germany. Works Recommended from my book, Electronic and Experimental Music
Welcome to the Archive of Electronic Music. This is Thom Holmes.
This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text.
The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings.
There is a complete playlist for this episode on the website for the podcast.
Playlist: ELEKTRONISCHE MUSIK IN GERMANY
Time
Track Time
Start
Introduction –Thom Holmes
01:32
00:00
1. Heinz Schutz, “Morgenröte” (1952). Elektronische musik using magnetic tape (Cologne).
03:42
01:36
2. Karel Goeyvaerts, “Compositie Nr 5 met zuivere tonen” (1953). Elektronische musik using magnetic tape (Cologne).
02:44
05:12
3. Karlheinz Stockhausen, “Studie I” (1953). Elektronische musik using only processed sine waves (Cologne).
09:25
07:50
4. Giselher Klebe, “Interferenzen” (1955). Elektronische musik using magnetic tape (Cologne).
04:52
17:16
5. Gottfried Michael Koenig, “Klangfiguren I” (1955). Elektronische musikusing magnetic tape (Cologne).
04:18
22:00
6. Franco Evangelisti, “Incontri di fasce sonore” (1957). Elektronische musikusing magnetic tape (Cologne).
03:30
26:08
7. Mauricio Kagel, “Transición” (1958). Elektronische musik using magnetic tape (Cologne).
13:22
29:30
8. Györgi Ligeti, “Artikulation” (1958). Elektronische musik using magnetic tape (Cologne).
03:58
42:44
9. Herbert Eimert, “Epitaph für Aikichi Kuboyama” (1960). Elektronische musik using magnetic tape (Cologne).
22:26
46:44
10. Michael von Biel, “Fassung” (1964). Elektronische musik using magnetic tape (Cologne).
13:47
01:09:06
11. Karlheinz Stockhausen, “Hymnen Region III (opening)” (1953). Elektronische musik using only processed sine waves (Cologne).
02:30
01:22:40
12. Peter Eötvös, “Mese” (1968). Elektronische musik using magnetic tape (Cologne).
12:42
01:25:10
13. Karlheinz Stockhausen, “Studie II” (1953). Elektronische musik using only processed sine waves (Cologne).
03:10
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.
-
Episode 153
Chapter 14, Musique Concrète in France. Works Recommended from my book, Electronic and Experimental Music
Welcome to the Archive of Electronic Music. This is Thom Holmes.
This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text.
The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings.
There is a complete playlist for this episode on the website for the podcast.
Playlist: MUSIQUE CONCRÈTE IN FRANCE
Time
Track Time
Start
Introduction –Thom Holmes
01:30
00:00
1. Pierre Schaeffer, “Étude Aux Chemins De Fer ” (1948). Early musique concrète using turntables not magnetic tape. GRM studio (Paris).
02:53
01:36
2. Pierre Schaeffer, “Étude Violette” (1948). Early musique concrète using turntables not magnetic tape. GRM studio (Paris).
03:25
04:28
3. Pierre Schaeffer and Pierre Henry, “Prosopopée I” from Symphonie pour un homme seul (1949– 50). Early use of magnetic tape for musique concrète GRM studio (Paris).
02:57
07:48
4. Iannis Xenakis, “Diamorphoses” (1957). Magnetic tape composition. GRM studio (Paris).
06:57
10:42
5. Luc Ferrari, “Visage V” (1958-59). Magnetic tape composition. GRM studio (Paris).
10:37
17:38
6. Mireille Kyrou, “Etude I” (1960). Magnetic tape composition. GRM studio (Paris).
05:09
28:12
7. Philippe Carson, “Turmac” (1961). Magnetic tape composition. GRM studio (Paris).
09:43
33:20
8. Bernard Parmegiani, “Danse” (1961). Magnetic tape composition. GRM studio (Paris).
04:08
43:04
9. Henri Pousseur, “Trois Visages De Liège” (1961). Magnetic tape composition. Composed at the Centre de recherches et de formation musicales de Wallonie (CRFMW) (Belgium).
20:40
47:22
10. Luc Ferrari, “Hétérozygote” (1963-64). Magnetic tape composition. GRM studio (Paris).
26:20
01:08:00
11. François Bayle, “Vapeur” (1964). Magnetic tape composition. GRM studio (Paris).
04:44
01:34:16
12. Beatriz Ferreyra, “Demeures aquatiques” (1967). Magnetic tape composition. GRM studio (Paris).
07:20
01:39:00
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.
-
Episode 152
Chapter 13, Edgard Varèse and The Listener’s Experiment. Works Recommended from my book, Electronic and Experimental Music
Welcome to the Archive of Electronic Music. This is Thom Holmes.
This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text.
The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings.
There is a complete playlist for this episode on the website for the podcast.
Playlist: CLASSICAL MUSIC WITH ELECTRONICS
Time
Track Time
Start
Introduction –Thom Holmes
01:28
00:00
1. Edgard Varèse, “Déserts” (1954). Early combination of live orchestra with magnetic tape.
24:49
01:36
2. Maurice Blackburn and Norman McClaren, “Blinkity Blank” (1955). Film score for five instrumentalists and sounds created by etching directly onto the soundtrack.
05:07
26:28
3. Morton Subotnick, “Laminations” (1966). Live orchestra with electronic sounds on tape.
10:29
31:24
4. Mario Davidovsky, “Synchronisms No. 5” (1969). For percussion quintet and electronic sounds on tape.
08:39
41:50
5. Wendy Carlos, “A Clockwork Orange” (1971). Early analog synthesis of orchestral and choir sounds.
07:03
50:36
6. Jacob Druckman, “Animus III” (1971). For clarinet and tape.
15:44
57:34
7. Isao Tomita, opening four tracks from The Bermuda Triangle (1979) including themes by Prokofiev and Sibelius. Analog electronic orchestration.
12:52
01:13:18
8. Wendy Carlos, “Genesis” from Digital Moonscapes (1984). Completely digital orchestration.
07:10
01:25:58
9. Robert Ashley, “Superior Seven” (1988). Live instruments with MIDI instrument accompaniment.
30:15
01:33:10
10. William Orbit, “Adagio for Strings” (2000). Electronic realization of Samuel Barber orchestral work.
09:34
02:03:26
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.
-
Episode 151
Chapter 12, The History of Audio Recording Technology. Works Recommended from my book, Electronic and Experimental Music
Welcome to the Archive of Electronic Music. This is Thom Holmes.
This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text.
The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings.
There is a complete playlist for this episode on the website for the podcast.
Playlist: THE HISTORY OF AUDIO RECORDING TECHNOLOGY
Time
Track Time
Start
Introduction –Thom Holmes
01:30
00:00
1. Leon Scott “Au Clair de la Lune” (1860). Phonautograph. One of about 50 recordings made around 1860 by Édouard-Léon Scott de Martinville's on his invention, the Phonautograph that were digitally restored in 2008 by the First Sounds collaborative. These were created using the Lawrence Berkeley National Laboratory's virtual stylus technology, which sought to track the wavy lines scratched on soot-covered paper as though they were standard record grooves.
00:20
01:38
2. Alice J. Shaw, an improvised whistling performance (1888) from an Edison Records cylinder recording.
02:13
01:58
3. George J. Gaskin, “Drill Ye Terriers Drill” (1896) from an E. Berliner's Gramophone shellac disc.
01:24
04:10
4. Sousa's Band, “Happy Days In Dixie” (1897) from an E. Berliner's Gramophone shellac disc.
01:43
05:36
5. Emperor Franz Joseph, short message recorded on Valdemar Poulsen’s Telegraphone (1900). Early magnetic wire recording. Recording made without microphone.
00:09
07:18
6. Sousa's Band, “The Mosquito Parade” (1904) from Columbia Records shellac disc. Note the higher fidelity of the instruments compared to earlier recordings on disc, recorded without electrical microphones but optimizing the use of acoustic horns for sound intake.
02:54
07:28
7. Noble Sissle (vocals) and Eubie Blake (piano), medley of popular songs (1923). Recording using onto an early sound film using the Phonofilm process invented by Lee de Forest.
06:51
10:22
8. Paul Whiteman And His Concert Orchestra, “Rhapsody In Blue” (1924) from an RCA Victor shellac disc. This is an acoustically recorded version of this piece, without the benefit of vacuum tube amplification or electrical microphones. Compare to the 1927 version (next), also by Whiteman, produced using electrical recording.
09:06
17:12
9. Paul Whiteman And His Concert Orchestra, “Rhapsody In Blue” (1927) from RCA Victor, His Master's Voice shellac disc. An electrical recording using vacuum tube amplification and electrical microphones.
08:59
26:30
10. Paul Hindemith, “Trickaufnahme” (excerpt) (1930), an experiment in turntablism using turntable discs to both record, mix, and playback the result.
00:58
35:28
11. BBC, “Pieces of Tape” excerpt of a program (1933) produced by editing together segments recorded previously using the Blattnerphonesteel tape recorded that used a magnetic process. This was the first audio recording assembled using tape editing. A dozen years prior to the available of magnetic tape, edits made to steel tape had to be made by spot welding.
05:29
36:28
12. Sidney Bechet, “Blues of Bechet” (1941) from an RCA Victor shellac disc. An early example of overdubbing/multitracking. Bechet played every instrument on this track, including the piano, clarinet and soprano saxophone. Each instrument was recorded onto a new master disc and mixed on another disc to create the final recording.
01:57
41:56
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.
-
Episode 150
Chapter 11 Electronic Music Performance Instruments (1920– 40). Works Recommended from my book, Electronic and Experimental Music
Welcome to the Archive of Electronic Music. This is Thom Holmes.
This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text.
The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings.
There is a complete playlist for this episode on the website for the podcast.
Playlist: ELECTRONIC MUSIC PERFORMANCE INSTRUMENTS (1920– 1950)
Time
Track Time
Start
Introduction –Thom Holmes
01:35
00:00
1. Luigi Russolo, “Serenata” (1924). Mechanical noise-intoners and orchestra.
02:01
01:38
2. Leon Theremin, “Deep Night” (1930). The inventor playing his own instrument.
01:48
04:16
3. Orchestra Raymonde, “Romantique” (1934). Song featuring the Electronde, an instrument based on the Theremin made by Martin Taubman.
02:55
06:06
4. Edgard Varèse, “Ecuatorial” (1934). Scored for chorus, small orchestra, organ, and two Ondes Martenots. Performance under the direction of Pierre Boulez in 1983.
12:11
09:00
5. Paul Hindemith, “Langsames Stück und Rondo für Trautonium” (1935). Oskar Sala played the Trautonium.
05:29
21:02
6. Olivier Messaien, “Oraison” (1937) for Ondes Martenot and orchestra.
07:43
26:34
7. John Cage, “Imaginary Landscape No. 1” (1939). Radios and turntables playing test signals.
08:37
34:14
8. Slim Galliard Quartet, “Novachord Boogie” (1946). Featured the Hammond Novachord organ/synthesizer.
02:57
42:50
9. Lucie Bigelow Rosen, “That Old Refrain” (1948) for Theremin and piano.
03:25
45:48
10. Miklós Rózsa. “Subconscious” from Spellbound (1948). Musical score for the Alfred Hitchcock film featuring Dr. Samuel J. Hoffman on Theremin.
02:07
49:14
11. Clara Rockmore, “Valse Sentimentale” (Tchaikovsky) (1977) for Theremin. Later performance of the famous Thereminist from the 1930s-1940s.
02:07
51:22
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.
-
Episode 148
Chapter 10, Earliest Experiments in Electronic Music (Pre- 1920). Works Recommended from my book, Electronic and Experimental Music
Welcome to the Archive of Electronic Music. This is Thom Holmes.
This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text.
The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings.
There is a complete playlist for this episode on the website for the podcast.
Let’s get started with the listening guide to Chapter 10, Earliest Experiments in Electronic Music (Pre- 1920) from my book Electronic and Experimental music.
Playlist: Futurist Music
Time
Track Time
Start
Introduction –Thom Holmes
01:34
00:00
Antonio Russolo, “Serenata” (1924). A 78 RPM recording made using original intonarumori (noise intoners).
02:38
01:36
Antonio Russolo, “Corale” (1924). A 78 RPM recording made using original intonarumori (noise intoners).
02:01
04:12
Luigi Russolo, “Risveglio Di Una Citta” (1913). This recording was made in 1977 by Mario Abate, Pietro Verardo with reproduction intonarumori (noise intoners).
03:52
06:12
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.
-
Episode 147
Chapter 09, MIDI, Noise Reduction, and Audio Compression Technologies. Works Recommended from my book, Electronic and Experimental Music
Welcome to the Archive of Electronic Music. This is Thom Holmes.
This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text.
The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings.
There is a complete playlist for this episode on the website for the podcast.
Let’s get started with the listening guide to Chapter 09, MIDI, Noise Reduction, and Audio Compression Technologies from my book Electronic and Experimental music.
Playlist: MIDI Controllers in Electronic Music
Time
Track Time
Start
Introduction –Thom Holmes
01:40
00:00
Robert Ashley, “Superior Seven” (1986). Used an early MIDI controller suite of instrumental sounds accompanying a live flutist.
30:15
01:42
Michel Waisvisz demonstrates The Hands and Crackle MIDI controller-synthesizers. The No Backup Concert (2004) at STEIM.
09:40
32:08
Thomas Wydler & Toby Dammit, “Ramwong” (2021). Features a treated Buchla Marimba Lumina synthesizer, a MIDI instrument and controller.
02:15
41:48
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.
-
Episode 146
Chapter 08, Tape Composition and Sound Editing. Works Recommended from my book, Electronic and Experimental Music
Welcome to the Archive of Electronic Music. This is Thom Holmes.
This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text.
The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings.
There is a complete playlist for this episode on the website for the podcast.
Let’s get started with the listening guide to Chapter 08, Tape Composition and Sound Editing from my book Electronic and Experimental music.
Playlist: Classic Tape Composition Techniques
Time
Track Time
Start
Introduction –Thom Holmes
01:30
00:00
1 Pierre Schaeffer, “Cinq études de bruits: Étude violette (1948). Early application of backwards sounds using a turntable
03:19
01:34
2 Pierre Henry, “Le Microphone bien tempéré” (1950– 52). Used reverberation.
24:48
04:50
3 Otto Luening, “Invention in Twelve Tones” (1952). Used tape echo.
03:47
29:37
4 Morton Feldman, “Intersection” (1953). Used leader tape as a composition tool to add patches of silence.
03:30
33:18
5 György Ligeti, “Glissandi” (1957). Extensive use of tape speed variation and backwards sounds.
07:45
33:44
6 Henri Pousseur, “Scambi” (1957– 58). Explored white noise, filtering, and reverberation.
06:34
44:20
7 Herbert Brün, “Anepigraphe” (1958). Tape music with voices edited into the mix, produced in the WDR studio in Cologne.
07:46
50:56
8 Terry Riley, “Music for the Gift” part 1 (1963). One of the first uses of tape delay with multiple tape recorders.
05:45
58:42
9 Pauline Oliveros, “Beautiful Soop” (1967). Used multiple tape echo signals.
27:46
01:04:24
10 Violet Archer, “Episodes” (1973). Using two Putney synthesizers, a bank of 10 oscillators, mixer, reverb, ring modulation, and filtering.
08:46
01:32:10
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.
-
Episode 146
Chapter 07, Computer Music Basics. Works Recommended from my book, Electronic and Experimental Music
Welcome to the Archive of Electronic Music. This is Thom Holmes.
This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text.
The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings.
There is a complete playlist for this episode on the website for the podcast.
Let’s get started with the listening guide to Chapter 07, Computer Music Basics from my book Electronic and Experimental music.
Playlist: Early Computer Synthesis
Time
Track Time*
Start
Introduction –Thom Holmes
01:30
00:00
1 Max Mathews, “Numerology” (1960). Direct computer synthesis using an IBM 7090 mainframe computer and the Music III programming language
02:45
01:32
2 James Tenney, “Analog #1: Noise Study” (1961). Direct synthesis and filtering of noise bands at Bell Labs’ facilities.
04:24
04:04
3 Lejaren Hiller, “Computer Cantata” (third movement) (1963). Direct computer synthesis using an IBM 7094 mainframe computer and the Musicomp programming language.
05:41
08:28
4 Jean-Claude Risset, “Mutations I” (1969). Used frequency modulation.
10:23
14:06
5 Charles Dodge, “The Earth’s Magnetic Field” (Untitled, part 1) (1970). Used an IBM mainframe computer and the Music 4BF programming language to convert geophysical data regarding the Earth’s magnetic field into music.
14:00
24:28
6 Laurie Spiegel, “Appalachian Grove I” (1974). Used the Groove program at Bell Labs.
05:23
38:22
7 Curtis Roads, “Prototype” (1975). Used granular synthesis.
06:11
43:48
8 John Chowning, “Stria” (1977). Used the composer’s patented FM synthesis algorithms.
05:14
50:00
9 Jean-Baptiste Barriere, “Chreode” (1983). Granular synthesis using the Chant program at IRCAM; computer-controlled organization of material—a grammar of musical processes prepared with IRCAM’s Formes software.
09:24
55:10
10 Barry Truax, “Riverrun” (1986). Composed using only granulated sampled sound, using Truax’s real-time PODX system.
19:42
01:04:30
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.
-
Episode 145
Chapter 06, Analog and Digital Synthesis Basics, Part 2. Works Recommended from my book, Electronic and Experimental Music
Welcome to the Archive of Electronic Music. This is Thom Holmes.
This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text.
The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings.
There is a complete playlist for this episode on the website for the podcast.
Let’s get started with the listening guide to Chapter 06, Analog and Digital Synthesis Basics, Part 2 from my book Electronic and Experimental music.
Playlist: Analog Synthesis and Sound Modification
Time
Track Time
Start
Introduction –Thom Holmes
01:32
00:00
1 Richard Maxfield, “Prelude, Pastoral Symphony” (1960). Tape piece combining electronic sounds with the modulated sounds of nature.
04:02
01:36
2 Mireille Kyrou, “Étude I” (1960) from Musique Concrète (1964 Philips). Tape piece of processed acoustic sounds. Realized by the "Groupe de recherches musicales du Service de la recherche de la radiodiffusion-télévision française.” Kyrou is the rare example of a woman composer using the French studio. 5:09
05:09
05:36
3 Hugh Le Caine, “Safari: Eine kleine Klangfarbenmelodie” (1964). Used extensive additive synthesis and texturing by means of the Sonde, an instrument equipped with 200 closely tuned sine tones.
03:09
10:44
4 David Behrman, “Wave Train” (1966). Used analog circuits, internal feedback, audio processing in real time. Recording is from a flexi-disc released by Source: Music of the Avant Garde in 1968.
15:34
13:52
5 Steve Reich, “Come Out” (1966). Tape piece experiment with tape loops and phasing of vocal passages.
12:53
29:22
6 Gordon Mumma, “Horn” (1967). Performance released on flexi-disc for Aspen Magazine No. 1 (1967). Performed at the Once Festival in Ann Arbor, Michigan by Mumma, Robert Ashley, and George Cacioppo. Acoustic sounds modified electronically in real time.
06:22
42:14
7 Pril Smiley, “Eclipse” (1967). “Eclipse” was realized at the Columbia-Princeton Electronic Music Center. Smiley had this to say about the work, “Eighty-five percent of the sounds are electronic in origin; the non-electronic sounds are mainly pre-recorded percussion sounds–but subsequently electronically modified so that they are not always recognizable.” 7:56
07:56
48:46
8 Charlemagne Palestine, “Seven Organism Study” (1968). Used feedback and analog synthesis for this drone work.
07:53
56:36
9 Hugh Davies, “Salad” (1977). From the National Sound Archive of The British Library. The file was produced in Davies’ home studio and dates from February 19, 1977. Davies performs on four different egg slicers, two tomato slicers and one cheese slicer. 13:55
13:55
01:04:24
10 David Lee Myers, “Periodicity, track A1” (1988). Analog feedback circuits controlled in real time.
02:36
01:18:16
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.
-
Episode 144
Chapter 06, Analog and Digital Synthesis Basics, Part 1. Works Recommended from my book, Electronic and Experimental Music
Welcome to the Archive of Electronic Music. This is Thom Holmes.
This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text.
The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings.
There is a complete playlist for this episode on the website for the podcast.
Let’s get started with the listening guide to Chapter 06, Analog and Digital Synthesis Basics, Part 1 from my book Electronic and Experimental music.
Playlist: Early Experiments and Synthesizers
Time
Track Time
Start
Introduction –Thom Holmes
01:40
00:00
1 Halim El-Dabh, “The Expression of Zaar” (alt. title Wire Recorder Piece) (1944). Middle East Radio, Cairo. Composed using a magnetic wire recorder.
01:53
01:40
2 Hugh Le Caine, “Dripsody” (1955). Canada. Using Le Caine’s special purpose tape recorder.
02:00
03:30
3 Josef Anton Riedl, “Folge von 4 Studien” (1959). Siemens Studio für Elektronische Musik.
02:35
05:30
4 Milton Babbitt, “Ensembles for Synthesizer” (1961– 63). Using RCA Mark II Electronic Music Synthesizer
10:41
08:06
5 Mauricio Kagel “Antithese” (1962). Siemens Studio für Elektronische Musik.
09:22
18:46
6 Konrad Boehmer, “Aspekt” (1966). State University Electronic-Music Studio, Utrecht.
15:15
28:08
7 Pauline Oliveros, “I of IV” (1966). University of Toronto Electronic Music Studio. Using Hugh Le Caine’s tape loop system.
25:29
43:34
8 Alice Shields, “Study for Voice and Tape” (1969). Columbia– Princeton Electronic Music Center.
05:14
01:08:52
9 Charles Wuorinen, Time’s Encomium (1968– 69). Using RCA Mark II Electronic Music Synthesizer.
30:47
01:14:06
10 Douglas Leedy, “Entropical Paradise I” (1970). Side 1 of three-LP set. Six “sonic environments” using the Buchla Modular Electronic Music System and Moog Modular Synthesizer at UCLA.
20:09
01:44:55
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.
-
Episode 143
Chapter 05, The Physics of Musical Sound. Works Recommended from my book, Electronic and Experimental Music
Welcome to the Archive of Electronic Music. This is Thom Holmes.
This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text.
The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings.
Playlist
Time
Track Time*
Start
Introduction –Thom Holmes
01:28
00:00
John Cage, “Cartridge Music” (1960). Uses phono cartridges to amplify small sounds.
19:57
01:30
Robert Ashley, “The Wolfman” (1964). Uses a mike inside of the vocal cavity as a feedback and distortion chamber for audio that is highly amplified.
15:27
21:26
Beaver and Krause, “Nonesuch Guide to Electronic Music” (1968). Two complete albums of examples from this landmark album. Includes examples of synthesis and principles using the Moog Modular synthesizer. The first track is a composition called “Peace Three” that is repeated as the final track of the album; in this case I only play it once at the end of the album. See the image below for a scan of the album’s title sequence.
45:16
37:00
Steve Reich, “Pendulum Music” (1968). Manipulates the feedback properties of a microphone swinging over a loudspeaker.
05:54
01:22:16
David Tudor, “Toneburst” (1975). Incorporates an internal feedback loop where Tudor fed the output of his handbuilt instruments into other. Partly analog, partly digital.
29:19
01:28:06
Jason Kahn, Toshimaru Nakamura, “Track 1” from Repeat (1999). No-input feedback, which is basically a feedback loop produced without external (acoustic) input. All digital.
08:02
01:57:26
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.
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