Chapter 01, Electronic and Experimental Music, Recommended Works

The Holmes Archive of Electronic Music

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Hosted by Chris Burns, We Have The Receipts is a bi-weekly all-access deep dive into Netflix Unscripted Reality! Each episode will bring you closer to the people behind the reality, with the free-flowing depth of podcast conversations and viral elements of TV’s best talk shows. We Have The Receipts is an upbeat, fan-first destination to uncover more insider secrets, more expert hot takes, and more off-the-rails drama from their favorite Netflix reality stars.

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Episode 139

Chapter 01, What is Electronic Music? Recommended Works from 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.

Playlist

Time

Track Time*

Start

Introduction –Thom Holmes

01:16

00:00

Pierre Schaeffer, Cinq Études De Bruits Étude Violette (1948). Example of musique concrète.

03:25

01:16

Pierre Schaeffer and Pierre Henry, Bidule en Ut (1950). Example of musique concrète.

02:11

04:36

Herbert Eimert, Klangstudie I (1952). Example of elektronische music.

03:57

06:46

Herbert Eimert and Robert Beyer, Klang Im Unbegrenzten Raum (1952). Example of elektronische music.

10:33

10:40

Karlheinz Stockhausen, Studie I (1953-54). Example of elektronische music.

10:00

20:59

Karlheinz Stockhausen, Gesang Der Jünglinge (1955-56). Example of electroacoustic music.

13:40

30:28

Else Marie Pade, Symphonic Magnetophonique (1958). Example of electroacoustic music.

19:28

43:38

Edgard Varèse, Poème Électronique (1958). Example of organized sound.

08:08

01:02:54

Max Mathews, Numerology (1960)

02:45

01:11:05

Daphne Oram, Four Aspects (1960). Example of Oramics or electroacoustic music.

08:15

01:13:36

Henri Pousseur, Trois Visage de Liège (1961). Example of electroacoustic music.

17:54

01:21:44

James Tenney, Collage No.1 (Blue Suede) (1961). Example of electroacoustic music.

03:27

01:39:32

Delia Derbyshire, Falling (1964). Example of radiophonic music.

08:45

01:42:58

Ann Hamilton, Mantle (1998). Example of sound art.

32:09

01:51:39

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 قسمت

#Music #Thom Holmes

The Holmes Archive of Electronic Music

Chapter 01, Electronic and Experimental Music, Recommended Works

The Holmes Archive of Electronic Music

published 27 روز پیش

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MP3•خانه قسمت

Episode 139

Chapter 01, What is Electronic Music? Recommended Works from Electronic and Experimental Music

Playlist

Time

Track Time*

Start

Introduction –Thom Holmes

01:16

00:00

Pierre Schaeffer, Cinq Études De Bruits Étude Violette (1948). Example of musique concrète.

03:25

01:16

Pierre Schaeffer and Pierre Henry, Bidule en Ut (1950). Example of musique concrète.

02:11

04:36

Herbert Eimert, Klangstudie I (1952). Example of elektronische music.

03:57

06:46

Herbert Eimert and Robert Beyer, Klang Im Unbegrenzten Raum (1952). Example of elektronische music.

10:33

10:40

Karlheinz Stockhausen, Studie I (1953-54). Example of elektronische music.

10:00

20:59

Karlheinz Stockhausen, Gesang Der Jünglinge (1955-56). Example of electroacoustic music.

13:40

30:28

Else Marie Pade, Symphonic Magnetophonique (1958). Example of electroacoustic music.

19:28

43:38

Edgard Varèse, Poème Électronique (1958). Example of organized sound.

08:08

01:02:54

Max Mathews, Numerology (1960)

02:45

01:11:05

Daphne Oram, Four Aspects (1960). Example of Oramics or electroacoustic music.

08:15

01:13:36

Henri Pousseur, Trois Visage de Liège (1961). Example of electroacoustic music.

17:54

01:21:44

James Tenney, Collage No.1 (Blue Suede) (1961). Example of electroacoustic music.

03:27

01:39:32

Delia Derbyshire, Falling (1964). Example of radiophonic music.

08:45

01:42:58

Ann Hamilton, Mantle (1998). Example of sound art.

32:09

01:51:39

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 قسمت

#Music #Thom Holmes

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The Holmes Archive of Electronic Music

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

۵ روز پیش11:07

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

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

۵ روز پیش45:03

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

۵ روز پیش1:41:50

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

۵ روز پیش1:24:55

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

۵ روز پیش1:21:53

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 .…

The Holmes Archive of Electronic Music

1
Chapter 06, Analog and Digital Synthesis Basics, Part 1 2:06:01

۵ روز پیش2:06:01

2:06:01

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 .…

The Holmes Archive of Electronic Music

1
Chapter 05, The Physics of Musical Sound 2:06:29

15 روز پیش2:06:29

2:06:29

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 .…

The Holmes Archive of Electronic Music

1
Chapter 04, Electronic Music Composition by Process 3:08:20

15 روز پیش3:08:20

3:08:20

Episode 142 Chapter 04, Electronic Music Composition by Process. 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 01:31 00:00 Yves Klein, “Monotone-Silence Symphony” (1947). I could not find any recorded versions of this piece, so I produced this realization of my own to capture the feel and nature of this process work. Klein conceived this as performance art in which an orchestra would only play a single note, continuously, for 20 minutes followed by another 20 minutes of silence. I’ve examined the score and can see that Klein also intended that the same note could be played in different octaves. The playing would have been staged so that one group of musicians could overlap another, both for reasons of fatigue but also to allow smooth transitions for the wind instruments because players would need to take a breath. My version includes electronic instruments for multiple parts, each part playing the same note, often in different octaves. The introduction of instrumental groups was planned in stages, each overlapping the previous grouping, gradually shortening in duration as the piece goes on. 40:03 01:34 Steve Reich, “It’s Gonna Rain” (1965). Process piece using tape loops and phasing. 08:03 41:38 La Monte Young and Marian Zazeela, “31 VII 69 10:26 - 10:49 PM” (1969). Early work employing electronic drones. Eponymous untitled album popularly known as "The Black Record" or "The Black Album" Mine is an original copy. The cover is black gloss print on matt black and very hard to read. Numbered edition limited to 2800 copies of which numbers 1-98 are dated and signed by the artists. This work “was recorded at the date and time indicated in the title, at Galerie Heiner Friedrich, München. The work “31 VII 69 10:26-10:49 PM” is a section of the longer work: Map Of 49's Dream The Two Systems Of Eleven Sets Of Galactic Intervals Ornamental Lightyears Tracery. Play this side at 33 1/3 rpm only.” Early work employing electronic drones. By the mid-sixties, Young and his partner Marian Zazeela were creating music for electronic drones as an extension of their group, The Theatre of Eternal Music. Using a Heathkit sine wave oscillator and later Moog modules as sources, they created drone pieces that employed “extended duration time signatures” and “long sustained tones, intervals, triads and chords to create the musical texture.” A reissue has now occurred on the label Super Viaduct . 22:49 49:24 Terry Riley, “A Rainbow in Curved Air” (1969). Minimalist process work for electronic organ. 18:46 01:12:08 Steve Reich, “Four Organs” (1970). Process piece for four electronic organs. 24:11 01:31:04 Brian Eno, “Discreet Music” (1975). Process piece for synthesizers. 31:35 01:55:12 David Behrman, “Figure in a Clearing” (1977). Process piece using the KIM- 1 microcomputer 19:13 02:25:30 Laurie Spiegel, “A Harmonic Algorithm” (1980). Self-generating program running on an Apple II computer. 03:08 02:44:48 Alvin Lucier, “Music for Piano with One or More Snare Drums” (1990). Process piece for amplified piano and snare drum. 09:20 02:47:48 Marina Rosenfeld, “Two (Joy of Fear)” (2005). Process piece for a timed improvisational live performance. 10:22 02:56:50 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 03, How Electronic Music is Composed. 2:16:40

15 روز پیش2:16:40

2:16:40

Episode 141 Chapter 03, How Electronic Music is Composed. 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 01:26 00:00 Pierre Henry, “Antiphonie” (1953). Early serial tape composition. 03:00 01:30 Edgard Varese, “Poème électronique ” (1958). Classic tape composition using montage. 08:08 04:30 Iannis Xenakis, “Concret PH” (1958). Modified and amplified small sounds. 02:41 12:32 Pauline Oliveros, “Sound Patterns” (1961. Electronically modified voices and electronics on tape. 04:00 15:12 İlhan Mimaroğlu, “White Cockatoo” (1966). Tape composition using abstract sounds applied to sonata form. 04:23 19:10 Karlheinz Stockhausen, “Telemusik” (1966). Tape composition using world music recordings; also a component for included for live performance. 17:38 23:30 Karlheinz Stockhausen, “Hymnen” (1966– 67). Classic tape composition. 29:53 41:08 David Tudor, “Rainforest IV” (1973). Sounding objects, transducers, and contact microphones. 25:12 01:11:12 Ruth Anderson, “Points” (1973– 74). Synthesis using sine tones. 05:33 01:36:22 Eliane Radigue, “Adnos I– III” (excerpt) (1973– 80). Minimalist drone music for synthesizer; the full length is over an hour. 33:52 01:41:46 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

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Chapter 02, Listening to Electronic Music 1:18:19

15 روز پیش1:18:19

1:18:19

Episode 140 Chapter 02, Listening to Electronic Music. 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 01:27 00:00 David Tudor, “Anima Pepsi,” from the Pepsi Pavilion (1970) 23:03 01:32 Pauline Oliveros, “Big Mother is Watching You” (1966) 33:45 24:34 John Cage, “Fontana Mix” (1958) 11:34 58:18 Tetsu Inoue, “Kaze” (2007) 07:26 01:09:50 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

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Chapter 01, Electronic and Experimental Music, Recommended Works 2:24:47

27 روز پیش2:24:47

2:24:47

Episode 139 Chapter 01, What is Electronic Music? Recommended Works from 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. Playlist Time Track Time* Start Introduction –Thom Holmes 01:16 00:00 Pierre Schaeffer, Cinq Études De Bruits Étude Violette (1948). Example of musique concrète. 03:25 01:16 Pierre Schaeffer and Pierre Henry, Bidule en Ut (1950). Example of musique concrète. 02:11 04:36 Herbert Eimert, Klangstudie I (1952). Example of elektronische music. 03:57 06:46 Herbert Eimert and Robert Beyer, Klang Im Unbegrenzten Raum (1952). Example of elektronische music. 10:33 10:40 Karlheinz Stockhausen, Studie I (1953-54). Example of elektronische music. 10:00 20:59 Karlheinz Stockhausen, Gesang Der Jünglinge (1955-56). Example of electroacoustic music. 13:40 30:28 Else Marie Pade, Symphonic Magnetophonique (1958). Example of electroacoustic music. 19:28 43:38 Edgard Varèse, Poème Électronique (1958). Example of organized sound. 08:08 01:02:54 Max Mathews, Numerology (1960) 02:45 01:11:05 Daphne Oram, Four Aspects (1960). Example of Oramics or electroacoustic music. 08:15 01:13:36 Henri Pousseur, Trois Visage de Liège (1961). Example of electroacoustic music. 17:54 01:21:44 James Tenney, Collage No.1 (Blue Suede) (1961). Example of electroacoustic music. 03:27 01:39:32 Delia Derbyshire, Falling (1964). Example of radiophonic music. 08:45 01:42:58 Ann Hamilton, Mantle (1998). Example of sound art. 32:09 01:51:39 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

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Electronic Music of Conrad Schnitzler—A Retrospective, Part 1 1:32:45

۶ weeks پیش1:32:45

1:32:45

Episode 138 Electronic Music of Conrad Schnitzler—A Retrospective, Part 1. Playlist Time Track Time* Start Introduction –Thom Holmes 06:06 00:00 Conrad Schnitzler, “Meditation” from Rot (Red) (1973 Conrad Schnitzler Self-released. Composed, performed, recorded, and produced by Conrad Schnitzler. 19:44 08:28 Conrad Schnitzler, “Die Rebellen Haben Sich In Den Bergen Versteckt” from Blau (Blue) (1974 Conrad Schnitzler Self-released. Composed, performed, recorded, and produced by Conrad Schnitzler. 18:44 28:06 Conrad Schnitzler, “05/1975 B (6:11),” “05/1975 A (4:29),” “12/1975 A (1:53),” “14/1975 A (2:21),” “03/1975 A” from Filmmusik 2 (2017 Bureau B). Composed, performed, recorded, and produced by Conrad Schnitzler.These works were for composed for films that did not yet (most never) existed. They date from 1975 and fill an interesting niche in his work from the time. These shorter works contrast nicely to the extended works that he was producing up until this time. 18:47 45:40 Conrad Schnitzler + Wolf Sequenza, “Nächte In Kreuzberg” (3:48), “Humpf” (2:51), “M5-477” (4:39), “Pendel” (4:16), “Wer Geht Da?” (3:46), and “Copacabana” (5:17) from Consequenz (1980 Conrad Schnitzler Self-released). Composed, performed, recorded, and produced by Conrad Schnitzler and Wolf Sequenza (Wolfgang Seidel). 24:36 01:05:22 Note: These are all complete album sides. For Filmmusic 2 and Consequenz , the album sides include several individual tracks and the timings for each are shown in parentheses in the descriptions above. Opening background music: Conrad Schnitzler, “Untitled” (excerpt, side A) of the Red Cassette (1974 Conrad Schnitzler Self-released) (09:08). 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 .…

The Holmes Archive of Electronic Music

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Merry Moog 2024 1:40:43

14 weeks پیش1:40:43

1:40:43

Episode 137 Merry Moog 2024 Electronic Music for the Holidays Performed on the Moog and other Synthesizers Playlist Time Track Time Start Introduction –Thom Holmes 04:34 00:00 1. Hans Wurman, “Overture Miniature” from Electric Nutcracker (1976 Ovation). This Austrian composer made several remarkable, classically influenced Moog Modular albums from 1969 to 1976. This was one of his last big Moog projects and is difficult to find. 2:54 02:54 04:32 2. Hans Wurman, “Danse De La Fee-Dragee ( Sugar Plum Fairy)” from Electric Nutcracker (1976 Ovation). Moog Modular synthesizer, Hans Wurman. 1:33 01:33 07:24 3. Hans Wurman, “Danse Des Mirlitons (Flutes)” from Electric Nutcracker (1976 Ovation). Moog Modular synthesizer, Hans Wurman. 2:14 02:14 08:56 4. Emerson, Lake & Palmer, “Nutrocker” from Nutrocker / The Great Gates Of Kiev (1972 Cotillion). Arranged by, Emerson, Lake & Palmer. Written by Kim Fowley. 03:48 11:08 5. Sounds Of Broadcasting 2, “Night Of The Kings” from Sounds Of Broadcasting #6088 (1975? William B. Tanner Company, Inc.). Broadcast library track produced for the holidays. Produced using a Moog Modular Synthesizer. 01:01 14:56 6. Jean Jacques Perrey and Sy Mann, “Jingle Bells” from Switched on Santa (1970 Pickwick). USA. Moog Modular Synthesizer. 01:44 15:56 7. Jean Jacques Perrey and Sy Mann, “Christmas Bells” from Switched on Santa (1970 Pickwick). USA. Moog Modular Synthesizer. 01:52 17:40 8. Douglas Leedy, “The Coventry Carol” from A Very Merry Electric Christmas to You (1970 Capitol). USA. Moog Modular Synthesizer and Buchla Synthesizer. 04:46 19:30 9. Joseph Byrd, “Christmas in the Morning” from A Christmas Yet to Come (1975 Takoma). USA. ARP 2600 Synthesizer with an Oberheim Expander Module. 01:34 24:16 10. Armen Ra, “O Come All Ye Faithful” from Theremin Christmas (2018 Sungod). USA. Moog Etherwave Pro Theremin. 04:43 25:50 11. Beck, “The Little Drum Machine Boy” from Just Say Noël (1996 Geffen). USA. Roland TR-808 Rhythm Composer. 07:02 30:32 12. Alan Horsey, “We Wish You a Merry Christmas” from Switched-On Christmas (1985 Snowflake Records). Italian album with electric organ by Alan Horsey. This is reminiscent of Hooked on Classics as the entire album seems to be woven together by a drum machine beat. This is played on organ. Seems a little late for disco. 03:10 37:30 13. Denny Hinman, “Christmas in July” from Plays The Yamaha Electone E-70 (1980 Yamaha). Denny Hinman plays the Yamaha Electone E-70. A release by Yamaha. 01:45 40:36 14. Miharu Koshi, “Belle Tristesse” (妙なる悲しみ)from We Wish You A Merry Christmas (1984 Yen). Japan. A compilation of specially recorded Christmas-themed songs from various artists on the Yen Records label. Written by, synth-pop with vocals by Miharu Koshi. Miharu Koshi is a keyboardist and singer with a long-standing collaborative association with YMO-founder Haruomi Hosono. 03:43 42:20 15. Taeko Onuki, Inori (Prayer) from We Wish You A Merry Christmas (1984 Yen). Japan. A compilation of specially recorded Christmas-themed songs from various artists on the Yen Records label. Japanese synth-pop with vocals by Onuki. Maybe Ryuichi Sakamoto on keyboards. 03:44 46:02 16. Frank Collett, “Jesu Joy of Man’s Desiring (1970 Privately Made Release). USA. This is a special addition to the Merry Moog podcast. I found what is likely a one-of-a-disc private pressing by Frank Collett using the Moog Modular Synthesizer. This 45 RPM disc was recorded at Finetone Recording Studio in New York City and is inscribed with the hand-written message, “To John & Loretta: Merry XMAS. Composed and arranged by Frank Collett” This appears to be disc made of metal with a vinyl coating. One side includes his rendition of Bach’s “Jesu Joy of Man’s Desiring” plus a short tune called “Little Joey” (see below). The flip side contains the same recording of “Little Joey.” Dated December 22, 1970. Clearly made using a Moog Modular Synthesizer. Collett (1941-2016) was a noted session pianist and sometimes led and recorded with his own trio. He was raised in New York. In 1968 he was accompanist to Sarah Vaughan. The following year he moved to Las Vegas, Nevada. He became the house pianist, with the orchestra in the main showroom of the International Hotel (which became the Las Vegas Hilton). It was during this period that he made this recording in NY. 01:57 49:44 17. Frank Collett, “Little Joey” (1970 Privately Made Release). Frank Collett using the Moog Modular Synthesizer. From a 45 RPM disc recorded at Finetone Recording Studio in New York City (see above). Dated December 22, 1970. Clearly made using a Moog Modular Synthesizer. Collett (1941-2016) was a noted session pianist and sometimes led and recorded with his own trio. Moog Modular Synthesiser, Frank Collett. Whose Moog Synthesizer did he use to make this recording? I can only speculate and guess that he made the recording at the studio of Gerson Kingsley in New York. 01:56 51:40 18. Romantic Synthesizer, “Oh Tannenbaum” from Christmas Memories (1983 Dureco Benelux). French-Dutch album. Arranged, produced, synthesizers by Gerto Heupink, Robert Pot. 02:53 53:34 19. Keiko Ohta (Ota), “Here Comes Santa Claus” from Electone X’Mas Present (1975 Canyon). Yamaha Electone GX-707 (GX-1), arranged by Keiko Ohta. Ohta was a female Electone star from Japan. The GX-1 was an early polyphonic synthesizer and a new branch of the Yamaha Electone family tree. 02:43 56:24 20. Keiko Ohta (Ota), “Blue Christmas” from Electone X’Mas Present (1975 Canyon). Yamaha Electone GX-707 (GX-1), arranged by Keiko Ohta. Japan. Yes, the song originally made famous by Elvis Presley. Ohta was a female Electone star from Japan. The GX-1 was an early polyphonic synthesizer and a new branch of the Yamaha Electone family tree. 04:11 59:06 21. Paul Haig, “Scottish Christmas” from Chantons Noël - Ghosts Of Christmas Past (1981 Les Disques Du Crépuscule). From a compilation album of Christmas-related tunes. Scottish songwriter, musician and singer. 02:46 01:03:16 22. Les Cousins Dangereux, “What Child Is This” from Gotta Groove Records 2012 (2012 Gotta Groove Records). Holiday album with various artists. Les Cousins Dangereux is Mr. Tim Thornton. 01:59 01:06:00 23. Joy Electric, “Angels We Have Heard on High” from The Magic Of Christmas (2003 Tooth & Nail Records). Joy Electric is Ronnie Martin from Ohio. American synthesizer-pop musician. Among his many releases is this crafty Christmas album. 01:48 01:07:58 24. Koichi Oki, “Jingle Bells” from The Man From Yukiguni (1975 TIM/RS). Japan. Koichi Oki's Christmas album performed solely by his Yamaha Electone E-3. “Yukiguni” means snowland. Oki was a hugely popular Electone artist in Japan. 01:50 01:09:46 25. Koichi Oki, “Winter Wonderland” from The Man From Yukiguni (1975 TIM/RS). Japan. Koichi Oki's Christmas album performed solely by his Yamaha Electone E-3. “Yukiguni” means snowland. Oki was a hugely popular Electone artist in Japan. 02:18 01:11:34 26. Edhels, “Oriental Christmas” from Oriental Christmas (1985 Cabana Music). Recorded in France. Drums, Percussion, Keyboards, Jacky Rosati; Guitar, Jean Louis Suzzoni; Guitar, Bass, Keyboards, Composed by, Marc Ceccotti; Keyboards, Noël Damon. I was sent this as a promotional album back in 1985 with a kind little note from the artists. Sorry it took me so long to put the Christmas-related track in my podcast. This is great example of synth-pop from France in the 1980s. 04:22 01:13:52 27. Bob Wehrman, John Bezjian and Dusty Wakeman, “Joy to the World” from Christmas Becomes Electric (1984 Tropical Records). Produced in L.A., a collection of pre-fab synthesizer classics. Not the same record of the same title as Douglas Leedy. 02:40 01:18:12 28. Bob Wehrman, John Bezjian and Dusty Wakeman, “Ring Christmas Bells” from Christmas Becomes Electric (1984 Tropical Records). Produced in L.A., a collection of pre-fab synthesizer classics. Not the same record of the same title as Douglas Leedy. 01:46 01:20:50 29. Romantic Synthesizer, “So This is Christmas” from Christmas Memories (1983 Dureco Benelux). French-Dutch album. Arranged, produced, synthesizers by Gerto Heupink, Robert Pot. We don’t often hear an instrumental rendition of this Lennon and Ono X-mas tune. 03:22 01:22:34 30. Swinging Buildings, “Praying For A Cheaper Christmas” from Chantons Noël - Ghosts Of Christmas Past (1981 Les Disques Du Crépuscule). From a compilation album of Christmas-related tunes. This group was once rumored to be New Order in disguise. But no, they were in fact The Bowling Balls in disguise. 03:07 01:25:54 31. Bernie Krause, Philip Aaberg, “Feliz Navidad” from A Wild Christmas (1994 Etherean Music ). This delightful cassette is from Bernie Krause, known for his Moog explorations with Paul Beaver back in the day. All animal and ambient sounds recorded on location worldwide by Bernie Krause with the exception of the fish (courtesy of U.S. Navy). Animal samples, Bernie Krause and Phil Aaberg. Arrangements, new materials, all keyboards (Kurzweil 2000/Emulator III) Phil Aaberg. Percussion on Feliz Navidad performed by Ben Leinbach. 5:37 05:37 01:28:58 32. The Original Cast: R2-D2, Anthony Daniels As C-3PO, “R2D2 We Wish You A Merry Christmas” from Christmas In The Stars: Star Wars Christmas Album (1980 RSO). Vocals, Arthur Boller, Donald Oriolo, Jr., Dori Greenberg, Ivy Alexenburg, Jake Yeston, Jessica Taylor, Marney Alexenburg, Ricky Haayen, Roddy McBrien, Russell Poses, Scot Randell, Stacy Greenberg; Keyboards, Derek Smith, Harold Wheeler, Pat Rebillot; Sound Effects (R2D2), Ben Burtt. The whole Star Wars crew seems to have a part in this holiday album. I wanted to highlight a track featuring the melodious electronic beeping of R2D2. 03:33 01:34:34 Opening background music: Sounds Of Broadcasting 1, “Christmas Logos” from Sounds Of Broadcasting #6088 (1975? William B. Tanner Company, Inc.). Broadcast library track produced for the holidays. Produced using a Moog Modular Synthesizer. Notice how the melody imitates a familiar tune without ever hitting the same notes. A copyright thing. Another name of this track might as well be, “It’s Beginning to Sound A Lot Like Christmas.” Jean Jacques Perrey and Sy Mann, “Tijuana Christmas” from Switched on Santa (1970 Pickwick). USA. Moog Modular Synthesizer. Don Voegeli, “Chanukah” from Holiday & Seasonal Music (1977 EMI). USA. Produced at the Electrosonic Studio of the University of Wisconsin-Extension. Opening and closing sequences voiced by Anne Benkovitz. Visual design by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation. For additional notes, 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

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Sun Ra and Stockhausen—An Imaginary Encounter in Electronic Music 1:14:52

16 weeks پیش1:14:52

1:14:52

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 .…

The Holmes Archive of Electronic Music

1
An Electronic Music Mixed-Bag 1:43:12

18 weeks پیش1:43:12

1:43:12

Episode 135 An Electronic Music Mixed-Bag Playlist Time Track Time Start Introduction –Thom Holmes 06:28 00:00 John Bischoff, “The League Of Automatic Music Composers: Recording, December 17, 1978” from Lovely Little Records (1980 Lovely Music Ltd.). Tracks from this six-EP collection of new music from a variety of Lovely Music artists. Computer, David Behrman, Jim Horton, John Bischoff, Rich Gold; Mixing, "Blue" Gene Tyranny. “The League Of Automatic Music Composers makes music collaboratively by forming microcomputer networks. … For this performance, “each composer independently created a music program for his own microcomputer; we then mutually designed ways to internconnect our computers, and modified our programs to enable them to send data back and forth.” 08:40 06:58 Frankie Mann, “I Was a Hero” from “The Mayan Debutante Revue” (1979) from Lovely Little Records (1980 Lovely Music Ltd.). Tracks from this six-EP collection of new music from a variety of Lovely Music artists. Organ, bass guitar, voice, composed by Frankie Mann. “The Mayan Debutante Revue” is a reinterpretation of religious history. The work is a performance piece involving tape, slides, and one female performer.” 09:22 15:38 Frankie Mann, “How to be Very Very Popular” (1978) (excerpt) from Lovely Little Records (1980 Lovely Music Ltd.). Tracks from this six-EP collection of new music from a variety of Lovely Music artists. Tape editing, organ, synthesizer, voice, composed by Frankie Mann; voices, Julie Lifton, Ellen Welser, and unknown others. “How to be Very Very Popular” began as a letter-tape to my best friend. … Later I began composing electronic music, initially using homemade circuits and later using expensive synthesizers in college electronic music studios. My friend and I continued to send each other letters cross-country in tape form.” 08:49 24:58 Maggi Payne, “Lunar Dusk” from Lovely Little Records (1980 Lovely Music Ltd.). Recorded at the Center for Contemporary Music, Mills College, February 4, 1979. Composed, electronic music by Maggi Payne. This piece was “composed using the Moog and Aries synthesizers and the twelve-track recording studio at” Mills College. “Major concerns … are spatial location of sounds and complex timbral changes.” 07:59 33:46 The Commodores, “Machine Gun” from Machine Gun/There’s a Song in My Heart (1974 Motown). Single release featuring the early Commodores on this instrumental with Lionel Richie wailing along on the ARP Odyssey. 02:42 41:42 Billy Preston, “Space Race” from Space Race/We're Gonna Make It (1973 A&M). Single release. Preston was best known for his piano, Hammond, and Fender Rhodes work on Beatles’ records and his early solo work. By this time, he had picked-up on the unique sounds that synthesizers could conjure. He was inspired to create this song while experimenting with the ARP Pro-Soloist synthesizer. 03:26 44:24 George Duke, “Part 1 - The Alien Challenges The Stick / Part 2 - The Alien Succumbs To The Macho Intergalactic Funkativity Of The Funkblasters” from Master Of The Game (1979 Epic). Written by Byron Miller, David Myles, Ricky Lawson; Producer, Acoustic Guitar, Arranged By, Bells, Clavinet, Composed By, Fender Rhodes, Keyboards, Organ, ARP Odyssey, ARP String Ensemble, Minimoog, Oberheim, Prophet-5 and Crumar synthesizers, written by and vocals, George Duke; Bass, Byron Miller; Drums, Ricky Lawson; Guitar, David Myles. 09:21 47:46 Steve Roach, Side 2, “T.B.C.” (5:06); Canyon Sound (2:58); Time For Time (3:33); Reflector (6:50) from Traveler (1983 Domino). All music composed and performed on synthesizers by Steve Roach. American Roach has such a great legacy of electronic music that is clearly distinguishable from the German wave of the 1970s. This is from his first, official album released in 1983. 17:56 57:02 Reynold Weidenaar, “Twilight Flight” (6:56) (1977), “Close Harmony” (4:44) (1977), and “Imprint: Footfalls to Return” (5:04) (1981) from Reynold Weidenaar / Richard Brooks Music Visions (1986 Capstone Records). Weidenaar was formerly the editor of Bob Moog’s Electronic Music Review journal (1968-70) and an early user of the Moog Modular synthesizer. He was director of the electronic music studio at the Cleveland Institute of Music and at the time of this recording was on the faculty of the NYU films and television department. Twilight Flight” for electronic sounds was composed in 1977. “Close Harmony” for electronic sounds was composed in 1977. “Imprint: Footfalls to Return” for soprano voice and electronically modified sounds of the bare feet of Bharata-natyam Indian dancer was composed in 1981. 16:50 01:14:58 Eric Siday, three short works, “Night Tide” (2:56), “Communications No. 2” (0:24); and “Threat Attack” (2:05) from Musique Electronique (1960 Impress). Hard to find original disc by Siday, before he ventured into commercial recording using the Moog Modular synthesizer. His intereste in electronic music was deep, and he was one of the first customers of Robert Moog when his synth became available. 05:28 01:31:58 Hans Wurman, “Etude In C Minor, Op. 10, No. 12” (1:54) and “Waltz In D-Flat OP, 64, No. 1 (1:24) from Hans Wurman – Etude In C Minor, Op. 10, No. 12 (1970 RCA). Arranged and performed on the Moog Modular synthesizer by Hans Wurman. Brilliant interpretations of two classical pieces. 03:22 01:37:14 Opening background music: Einstürzende Neubauten [ein-sturt-zen-deh noy-bau-ten], “Der Tod Ist Ein Dandy” from Halber Mensch (1985 Some Bizarre). Noise metal from this dependable source of industrial music. (06:39) 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 .…

به Player FM خوش آمدید!

Player FM در سراسر وب را برای یافتن پادکست های با کیفیت اسکن می کند تا همین الان لذت ببرید. این بهترین برنامه ی پادکست است که در اندروید، آیفون و وب کار می کند. ثبت نام کنید تا اشتراک های شما در بین دستگاه های مختلف همگام سازی شود.