Electronic and Experimental Music: Pioneers in ... - Aaaaarg

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MUSIC FROM MAINFRAMES 211 Feedback Workstation (David Lee Myers, circa 1990). Composer David Lee Myers’ most elaborate “feedback workstation.” This was one of several pieces of equipment he devised to make music generated entirely by the feedback created by interconnected audio components. Myers explains the setup: “Four Digitec 7.6-second delays seen in the right hand sloping rack are the main deal. Included are custom mixer with feedback matrix, a smaller submixer, two DIY ring modulators, a nutty timeclock generator/enveloper/delay modulator, and various general-use processors like graphic EQ, Alesis reverb unit, patchbay, etc.” Photo courtesy David Lee Myers. SE566: “It cost $5, which seemed like a lot of money at the time. But, you know, the synthesizer was $5,000. “ 7 This was several years before the widespread availability of home computers, when chip technology was first being built into appliances, calculators, toys, and other household items. It turned out that Collins’s discovery had also been made by several other soldering composers. A few years later he was able to look “under the hood” of one of David Behrman’s early homemade synthesizers. This was not a computer, nor even a synthesizer in the traditional sense, because it had none of the usual paraphernalia found on commercial instruments, such as voltage-controlled filters, envelope generators, and modulation wheels. All Behrman wanted was a lot of oscillators. He soldered them together along with logic circuits and pitchsensors to create an early logic-based interactive sound synthesizer. It was used for his work for synthesized music with sliding pitches. Tones were triggered by several musicians and sustained by the synthesizer, dying out after a few seconds. As a tone died out, it modulated or deflected the pitches of other tones that were being played and this caused sliding pitches to occur during the attack and decay parts of a tone. The soldering composer had crossed the first line into the digital age. The chips provided him with a sonic wall of wavering, digital bliss. Behrman had become the “Phil Spector of Downtown,” 8 the father figure of a new wave of electronic music tinkering. Collins calls the Signetics chip the “cultural linchpin for an entire generation” of composer-hackers. A lot of tinkeerrs learned basic IC breadboard design with
212 ELECTRONIC AND EXPERIMENTAL MUSIC Digital Frequency Divider Synthesizer (Laurie Spiegel, 1979). “I built this inside a 7-inch magnetic tape box. The large flat white thing is the battery from an SX-70 Polaroid camera film pack, the only one flat enough to fit in the box and power the audio. This is a self-contained instrument. In the only performance I ever gave with it, I played it into a microphone like any other acoustic instrument and it went through a digital signal processor that David Behrman ran the controls of. It was a lot of fun.“—Laurie Spiegel. Photo by Larry Fast, courtesy of Laurie Spiegel. Electronic Sackbut Prototype (Hugh Le Caine, 1948). This was the first voltagecontrolled synthesizer. It was built between 1945 and 1948. ©Copyright Hugh Le Caine Archive, National Research Council Canada the SE566. Even more significant was that, before too long, the Signetics chip was already obsolete, only to be replaced by the next generation. Each successive IC was more versatile yet less expensive. The economics of technology were for once working in favor of the electronic musician. Composers Collins and Ron Kuivila had just started taking classes at Wesleyan:
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ELECTRONIC AND EXPERIMENTAL MUSIC
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Published in 2002 by Routledge 29 W
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About the Author Thom Holmes studie
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Thaddeus Cahill and the Telharmoniu
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Synthesizer Music 271 Computer Musi
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Thanks to Wendy Carlos for giving m
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Introduction NEW TECHNOLOGY, NEW MU
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INTRODUCTION 3 John Cage performing
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6 ELECTRONIC AND EXPERIMENTAL MUSIC
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8 ELECTRONIC AND EXPERIMENTAL MUSIC
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10 ELECTRONIC AND EXPERIMENTAL MUSI
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Chapter 2 ELECTRONIC MUSIC RESOURCE
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ELECTRONIC MUSIC RESOURCES 15 durat
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ELECTRONIC MUSIC RESOURCES 17 Each
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ELECTRONIC MUSIC RESOURCES 19 on th
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ELECTRONIC MUSIC RESOURCES 21 confu
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the same function as a sequence of
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difference between them. When sideb
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ELECTRONIC MUSIC RESOURCES 27 The f
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Chapter 3 MUSICAL PRECEDENTS TO ELE
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MUSICAL PRECEDENTS TO ELECTRONIC MU
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undertaken a revival of Futurist mu
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Chapter 5 MUSIQUE CONCRÈTE AND THE
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MUSIQUE CONCRÈTE AND THE ANCIENT A
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Chapter 6 THREE PIONEERS: JOHN CAGE
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THREE PIONEERS 109 composition [Wil
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THREE PIONEERS 111 (1953); Feldman
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THREE PIONEERS 113 financially beca
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THREE PIONEERS 115 because it was s
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Cage later found a more productive
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THREE PIONEERS 119 efforts were dan
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THREE PIONEERS 121 John Cage, David
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Cage’s Influence John Cage was wi
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THREE PIONEERS 125 If it can be sai
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THREE PIONEERS 127 First, I recorde
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THREE PIONEERS 129 eventually becom
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THREE PIONEERS 131 Gesang der Jüng
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THREE PIONEERS 133 Stockhausen buil
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THREE PIONEERS 135 of music being p
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THREE PIONEERS 137 letting it shrin
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Chapter 7 A RENAISSANCE OF INVENTIN
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A RENAISSANCE OF INVENTING 141 you
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Space Age Electronic Pop Music A RE
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synthesizers were collecting cobweb
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A RENAISSANCE OF INVENTING 147 comp
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A RENAISSANCE OF INVENTING 149 Spec
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Chapter 8 ROBERT MOOG, WENDY CARLOS
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ROBERT MOOG, WENDY CARLOS, AND THE
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Page 190 and 191: ONCE AND FUTURE INNOVATORS 177 Gord
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Page 204 and 205: ONCE AND FUTURE INNOVATORS 191 real
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Page 212 and 213: Computer Composition and Scoring Th
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Page 220 and 221: generations primarily by Gordon Mum
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Page 230 and 231: MUSIC FROM MAINFRAMES 217 “sound
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ELECTRONIC MUSIC IN THE MAINSTREAM
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APPENDIX RECOMMENDED RECORDINGS OF
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Gymnopédie (Rouge Records, 2000).
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Early Modulations—Vintage Volts (
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Intérieur/Extérieur (French Phili
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Gavin Bryars Synthesizer Music BIPE
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Martin Bartlett: Burning Water (Per
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New Music for Electronic and Record
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It Was a Dark and Stormy Night (Tra
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in memoriam…KIT CARSON (opera, ex
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The Sound of Lamination (Firework E
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foghorns; Kits Beach Soundwalk (198
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Raymond Scott http://RaymondScott.c
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Michel Waisvisz http://www.xs4all.n
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http://www.merce.org/ Gordon Mumma
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NOTES Chapter 1 1. Aaron Copland, C
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NOTES 293 12. Albert Glinsky, There
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24. Konrad Boehmer, interview with
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43. Ibid. 44. Karlheinz Stockhausen
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NOTES 299 10. Some of her photograp
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21. Robert Ashley, “Autobiographi
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NOTES 303 11. Alvin Lucier, intervi
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SELECT BIBLIOGRAPHY Appleton, Jon H
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The following index includes the na
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tape composition, 71-73, 116-116, 1
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alternate scales, 29-30; early deve
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Rock and Other Four Letter Words, 1
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Three Strategic Options, 229; Time
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Solovox 70 Sonde 148-149 Sonic Arts
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optical sound recording, 74 Whitney
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