Sun Ra and Stockhausen—An Imaginary Encounter in Electronic Music

The Holmes Archive of Electronic Music

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اضافه شده در two سال پیش

المحتوى المقدم من Thom Holmes. يتم تحميل جميع محتويات البودكاست بما في ذلك الحلقات والرسومات وأوصاف البودكاست وتقديمها مباشرة بواسطة Thom Holmes أو شريك منصة البودكاست الخاص بهم. إذا كنت تعتقد أن شخصًا ما يستخدم عملك المحمي بحقوق الطبع والنشر دون إذنك، فيمكنك اتباع العملية الموضحة هنا https://ar.player.fm/legal.

TechSurge: Deep Tech VC Podcast

1
Understanding the Elegant Math Behind Modern Machine Learning 1:14:43

منذ 9 أيام1:14:43

1:14:43

Artificial intelligence is evolving at an unprecedented pace—what does that mean for the future of technology, venture capital, business, and even our understanding of ourselves? Award-winning journalist and writer Anil Ananthaswamy joins us for our latest episode to discuss his latest book Why Machines Learn: The Elegant Math Behind Modern AI . Anil helps us explore the journey and many breakthroughs that have propelled machine learning from simple perceptrons to the sophisticated algorithms shaping today’s AI revolution, powering GPT and other models. The discussion aims to demystify some of the underlying mathematical concepts that power modern machine learning, to help everyone grasp this technology impacting our lives–even if your last math class was in high school. Anil walks us through the power of scaling laws, the shift from training to inference optimization, and the debate among AI’s pioneers about the road to AGI—should we be concerned, or are we still missing key pieces of the puzzle? The conversation also delves into AI’s philosophical implications—could understanding how machines learn help us better understand ourselves? And what challenges remain before AI systems can truly operate with agency? If you enjoy this episode, please subscribe and leave us a review on your favorite podcast platform. Sign up for our newsletter at techsurgepodcast.com for exclusive insights and updates on upcoming TechSurge Live Summits. Links: Read Why Machines Learn, Anil’s latest book on the math behind AI https://www.amazon.com/Why-Machines-Learn-Elegant-Behind/dp/0593185749 Learn more about Anil Ananthaswamy’s work and writing https://anilananthaswamy.com/ Watch Anil Ananthaswamy’s TED Talk on AI and intelligence https://www.ted.com/speakers/anil_ananthaswamy Discover the MIT Knight Science Journalism Fellowship that shaped Anil’s AI research https://ksj.mit.edu/ Understand the Perceptron, the foundation of neural networks https://en.wikipedia.org/wiki/Perceptron Read about the Perceptron Convergence Theorem and its significance https://www.nature.com/articles/323533a0…

منذ عام واحد 1:14:52

MP3•منزل الحلقة

Episode 136

Sun Ra and Stockhausen—An Imaginary Encounter in Electronic Music

Playlist

Time

Track Time

Start

Introduction –Thom Holmes

14:28

00:00

Karlheinz Stockhausen, “Es (It)” (1969) from Aus Den Sieben Tagen (from the Seven Days) (1973 Deutsche Grammophon). Composed by, electronics (Filters, Potentiometers), spoken voice, technician (Sound Direction), liner notes, Karlheinz Stockhausen; Elektronium, Harald Bojé; Piano, Aloys Kontarsky; Drums, Percussion (Tam-tam, Flexatone, Guero, Bamboo Flute, Jew's Harp, Rolf Gehlhaar; Drums, Percussion (Tam-tam, Flexatone, Guero, Jew's Harp, Alfred Alings; Viola, Johannes G. Fritsch. The Elektronium was an electronic instrument in the form of an accordion, invented by Hohner in 1952. From the cycle of compositions entitled Aus den Sieben Tagen. Es (10th May 1968). This is the complete cycle for the work consisting of 7 albums recorded at the Georg-Moller-Haus (Loge) in Darmstadt, from the 26th to 31st August 1969. This is different than the earlier recordings from Cologne that were released separately. Comes in a sturdy box together with a tri-lingual 20-page booklet. Each record is packed in its own cover.

23:04

14:30

Sun-Ra and his Astro Infinity Arkestra, “Space Probe” (1969) from My Brother The Wind Vol. 1 (2017 Cosmic Myth Records). Moog Modular Synthesizer solo, two keyboards, Sun Ra; Moog programming and mixing, Gershon Kingsley.” Recorded at Gershon Kingsley’s New York studio before Sun Ra had acquired a prototype Minimoog from Bob Moog the following year.

17:45

37:30

Sun-Ra and his Astro Infinity Arkestra, “The Code Of Interdependence” (1969) from My Brother The Wind Vol. 1 (2017 Cosmic Myth Records). Moog Modular Synthesizer solo, two keyboards, Sun Ra; Moog programming and mixing, Gershon Kingsley; Drums, Danny Davis, John Gilmore; Oboe, Marshall Allen; Tenor Saxophone, John Gilmore. Recorded at Gershon Kingsley’s New York studio before Sun Ra had acquired a prototype Minimoog from Bob Moog the following year.

16:50

55:16

Opening background music: Sun Ra and his Solar Myth Arkestra, “Seen Three Took Four” from The Solar-Myth Approach Vol. 1 (1970 Actuel). Piano, Minimoog, Electric Organ, Clavinet, Sun Ra; Tenor Saxophone, Percussion, John Gilmore; among a huge host of others.

Introduction to the podcast voiced by Anne Benkovitz.

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.

100 حلقات

#Music #Thom Holmes #Electronic Music

The Holmes Archive of Electronic Music

Sun Ra and Stockhausen—An Imaginary Encounter in Electronic Music

The Holmes Archive of Electronic Music

published منذ عام واحد

MP3•منزل الحلقة

Episode 136

Sun Ra and Stockhausen—An Imaginary Encounter in Electronic Music

Playlist

Time

Track Time

Start

Introduction –Thom Holmes

14:28

00:00

23:04

14:30

17:45

37:30

16:50

55:16

Introduction to the podcast voiced by Anne Benkovitz.

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.

100 حلقات

#Music #Thom Holmes #Electronic Music

كل الحلقات

The Holmes Archive of Electronic Music

1
Chapter 20, The Experimental Music Studio, University of Illinois 2:10:28

منذ 6 أيام2:10:28

2:10:28

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 .…

The Holmes Archive of Electronic Music

1
Chapter 19, The Cooperative Studio for Electronic Music, Ann Arbor 1:19:28

منذ 6 أيام1:19:28

1:19:28

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 .…

The Holmes Archive of Electronic Music

1
Chapter 18, The Columbia– Princeton Electronic Music Center, New York 2:01:09

منذ 6 أيام2:01:09

2:01:09

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 .…

The Holmes Archive of Electronic Music

1
Chapter 17, John Cage in the United States 1:34:54

منذ 6 أيام1:34:54

1:34:54

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 .…

The Holmes Archive of Electronic Music

1
Chapter 16, Other European Electronic Music Studios 1:46:50

منذ 6 أيام1:46:50

1:46:50

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 .…

The Holmes Archive of Electronic Music

1
Chapter 15, Elektronische Musik in Germany 1:41:38

منذ 6 أيام1:41:38

1:41:38

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 musik using magnetic tape (Cologne). 04:18 22:00 6. Franco Evangelisti, “ Incontri di fasce sonore ” (1957). Elektronische musik using magnetic tape (Cologne). 03:30 26:08 7. Mauricio Kagel, “ Transici ó n ” (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 f ü r 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 .…

The Holmes Archive of Electronic Music

1
Chapter 14, Musique Concrète in France 1:47:13

منذ 6 أيام1:47:13

1:47:13

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 .…

The Holmes Archive of Electronic Music

1
Chapter 13, Edgard Varèse and The Listener’s Experiment 2:13:59

منذ 6 أيام2:13:59

2:13:59

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 .…

The Holmes Archive of Electronic Music

1
Chapter 12, The History of Audio Recording Technology 44:57

منذ 6 أيام44:57

44:57

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 Blattnerphone steel 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 .…

The Holmes Archive of Electronic Music

1
Chapter 11 Electronic Music Performance Instruments (1920– 40). 54:30

منذ 6 أيام54:30

54:30

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 .…

The Holmes Archive of Electronic Music

1
Chapter 10, Earliest Experiments in Electronic Music (Pre- 1920) 11:07

منذ 20 يومًا11:07

11:07

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 .…

The Holmes Archive of Electronic Music

1
Chapter 09, MIDI, Noise Reduction, and Audio Compression Technologies 45:03

منذ 20 يومًا45:03

45:03

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 .…

The Holmes Archive of Electronic Music

1
Chapter 08, Tape Composition and Sound Editing 1:41:50

منذ 20 يومًا1:41:50

1:41:50

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 .…

The Holmes Archive of Electronic Music

1
Chapter 07, Computer Music Basics 1:24:55

منذ 20 يومًا1:24:55

1:24:55

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 .…

The Holmes Archive of Electronic Music

1
Chapter 06, Analog and Digital Synthesis Basics, Part 2 1:21:53

منذ 20 يومًا1:21:53

1:21:53

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 .…

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