

برعاية
Junto a Pauline Oliveros y Ramón Sender funda en 1961el San Francisco Tape Music Center, primer estudio de la Costa Oeste dedicado a la música experimental. Cinco años más tarde, crea el primer disco electrónico jamás grabado, “Silver Apples of the Moon”.
_____
Has escuchado
The Other Piano. Lullaby: For Piano & Live Electronics (2007). Soojin Anjou, piano; Morton Subotnick, electrónica. Mode (2019)
Silver Apples of the Moon. Part A (1967). WERGO (1994)
The Wild Beasts. After the Butterfly (1978). Conjunto instrumental dirigido por Subotnick. WERGO (2015)
_____
Selección bibliográfica
BERNSTEIN, David, The San Francisco Tape Music Center: 1960s Counterculture and the Avant-garde. University of California Press, 2008
CLEMAN, Tom y Morton Subotnick, “Parallel Lines for Solo Piccolo with "Ghost Electronics" and Nine Players”. Notes, n.º 40 (1983), p. 404
DAVISON, Stephen, “All My Hummingbirds Have Alibis, Multimedia CD-ROM for Macintosh by Morton Subotnick” [Reseña]. Notes, n.º 53 (1996), p. 530-533*
GLUCK, Robert, “Electric Circus, Electric Ear and the Intermedia Center in Late-1960s New York”. Leonardo Music Journal, vol. 45, n.º 1 (2012), pp. 51-56*
—, “Nurturing Young Composers: Morton Subotnick’s Late-1960s Studio in New York City”. Computer Music Journal, vol. 36, n.º 1 (2012), pp. 65-80*
HANSON, Jeffrey, Morton Subotnick's Ghost Scores: Interaction and Performance with Music Technology. TFM, San Jose State University, 2010
MACHOVER, Tod, “Interview with Morton Subotnick”. Contemporary Music Review, vol. 13, n.º 2 (1996), pp. 3-11*
ROADS, Curtis, “Interview with Morton Subotnick”. Computer Music Journal, vol. 12, n.º 1 (1988), pp. 9-18*
ROADS, Curtis y Morton Subotnick, “A Sky of Cloudless Sulfur/After the Butterfly”. Computer Music Journal, n.º 5 (1981), p. 81
SUBOTNICK, Morton, “Extending the Stuff Music is Made of”. Music Educators Journal, n.º 55 (1968), pp. 109-110
—, “The Use of the Buchla Synthesizer in Musical Composition”. Journal of The Audio Engineering Society (1970), s/n
—, “The use of computer technology in an interactive or “Real time” performance environment”. Contemporary Music Review, n.º 18 (1999), pp. 113-117
WHIPPLE, Harold W., “Beasts and Butterflies: Morton Subotnick's Ghost Scores”. The Musical Quarterly, vol. 69, n.º 3 (1983), pp. 425-441*
YELTON, Geary, “A Conversation with Morton Subotnick: Celebrating the 50th Anniversary of Silver Apples of the Moon”. Electronic Musician, vol. 33, n.º 11 (2017), pp. 26-30
*Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March
101 حلقات
Junto a Pauline Oliveros y Ramón Sender funda en 1961el San Francisco Tape Music Center, primer estudio de la Costa Oeste dedicado a la música experimental. Cinco años más tarde, crea el primer disco electrónico jamás grabado, “Silver Apples of the Moon”.
_____
Has escuchado
The Other Piano. Lullaby: For Piano & Live Electronics (2007). Soojin Anjou, piano; Morton Subotnick, electrónica. Mode (2019)
Silver Apples of the Moon. Part A (1967). WERGO (1994)
The Wild Beasts. After the Butterfly (1978). Conjunto instrumental dirigido por Subotnick. WERGO (2015)
_____
Selección bibliográfica
BERNSTEIN, David, The San Francisco Tape Music Center: 1960s Counterculture and the Avant-garde. University of California Press, 2008
CLEMAN, Tom y Morton Subotnick, “Parallel Lines for Solo Piccolo with "Ghost Electronics" and Nine Players”. Notes, n.º 40 (1983), p. 404
DAVISON, Stephen, “All My Hummingbirds Have Alibis, Multimedia CD-ROM for Macintosh by Morton Subotnick” [Reseña]. Notes, n.º 53 (1996), p. 530-533*
GLUCK, Robert, “Electric Circus, Electric Ear and the Intermedia Center in Late-1960s New York”. Leonardo Music Journal, vol. 45, n.º 1 (2012), pp. 51-56*
—, “Nurturing Young Composers: Morton Subotnick’s Late-1960s Studio in New York City”. Computer Music Journal, vol. 36, n.º 1 (2012), pp. 65-80*
HANSON, Jeffrey, Morton Subotnick's Ghost Scores: Interaction and Performance with Music Technology. TFM, San Jose State University, 2010
MACHOVER, Tod, “Interview with Morton Subotnick”. Contemporary Music Review, vol. 13, n.º 2 (1996), pp. 3-11*
ROADS, Curtis, “Interview with Morton Subotnick”. Computer Music Journal, vol. 12, n.º 1 (1988), pp. 9-18*
ROADS, Curtis y Morton Subotnick, “A Sky of Cloudless Sulfur/After the Butterfly”. Computer Music Journal, n.º 5 (1981), p. 81
SUBOTNICK, Morton, “Extending the Stuff Music is Made of”. Music Educators Journal, n.º 55 (1968), pp. 109-110
—, “The Use of the Buchla Synthesizer in Musical Composition”. Journal of The Audio Engineering Society (1970), s/n
—, “The use of computer technology in an interactive or “Real time” performance environment”. Contemporary Music Review, n.º 18 (1999), pp. 113-117
WHIPPLE, Harold W., “Beasts and Butterflies: Morton Subotnick's Ghost Scores”. The Musical Quarterly, vol. 69, n.º 3 (1983), pp. 425-441*
YELTON, Geary, “A Conversation with Morton Subotnick: Celebrating the 50th Anniversary of Silver Apples of the Moon”. Electronic Musician, vol. 33, n.º 11 (2017), pp. 26-30
*Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March
101 حلقات
يقوم برنامج مشغل أف أم بمسح الويب للحصول على بودكاست عالية الجودة لتستمتع بها الآن. إنه أفضل تطبيق بودكاست ويعمل على أجهزة اندرويد والأيفون والويب. قم بالتسجيل لمزامنة الاشتراكات عبر الأجهزة.