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The History of Electroacoustic in the Czech and Slovak Republics Author(s): Libor Zajicek Source: Leonardo Music Journal, Vol. 5 (1995), pp. 39-48 Published by: The MIT Press Stable URL: http://www.jstor.org/stable/1513160 Accessed: 30/08/2008 11:33

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http://www.jstor.org HISTORICAL PERSPECTIVE ABSTRACT

The History of ElectroacousticMusic Thehistory of electroacoustic musicin the Czech and Slovak Re- publicsbegan with simple experi- in the Czech and Slovak Republics mentsundertaken bycomposers inthe 1950s. Increasing activity andinterest throughout the 1950s andearly 1960s led to theFirst Seminarof ElectronicMusic in the Libor formerCzechoslovakia, which was Zajicek heldat theRadio Broadcast Sta- tionin Plzen in 1964. Four govern- ment-sanctionedelectroacoustic musicstudios were established in the1960s under the auspices of existingradio and television sta- It is extremely to view the entireelectroacoustic [mu- titions, including the Italian nions.Al omnervenues ror eiec- important troacousticproduction were clan- as it was the condi- 's Prix d'ItaliaRadio'sdI i Prix as well as sic] development influencedby ideological destine;however, even the official tions in our countryat that time.It may bepossible that this is competitions held in Palermo, studioswere obliged to restrain in the view of the Westa completelyforeign experience;but the Paris, Ghent and Bourges. Re- and/ordisguise composition-for existing consciousnessthat creating electroacousticmusic is markably, all of this activity origi- bothpolitical and economic rea- that it is as an "anti-state"and "anti-re- nated from a handful, at best, sons--throughoutsons-throughouttheir history. prohibited, classified only nt frmoy Thefall of thetotalitarian regime gime"activity, is a big stimulusfor the creationand aesthetic of centers and their studios. in1989 replaced political ob- of electroacousticmusic [in Czechoslovakia][1]. In fact, facilities established for stacleswith economic ones. Elec- the production of electroacoustic troacousticmusic in the Czech The despondent situation described in this statement by and hasnever- music in only four Czechoslova- SovakRepublics Slovakian Roman Berger was referred to by each of . . thelesssurvived and continues to kian kian.c' Brno,B o Brati-Brai develop. the 24 other I interviewed in the Czech and Slovak cities-Plzefi, develop. people slava and been the the summers of 1993-1994 [2]. The totali- Prague-have Republics during force behind the tarian that controlled the former Czechoslo- major driving political regime of electroacoustic vakia what it as "" in development supported only interpreted music in the two As was the case in other the arts. was considered a Republics. many corruptive, the studios in these four cities out of Western art form that had to be How- countries, grew early constantly suppressed. in electroacoustic in the ever, if officials were to claim that Communism experiments composition recording government studios of radio and television broadcast stations. was the savior and supporter of the people, Communists Czechoslovakia's web of government-controlled radio broad- could not completely "shut down" and forbid the production cast stations was directed by officials of the Czechoslovakian of electroacoustic music; if they had, they would not have Radio, located in Prague. Although conflicting versions of the been supporters of the people. facts and varying titles held by unofficial studios can some- Over the past 50 years, the political history of the former times indicate otherwise, only three official studios-i.e. stu- Czechoslovakia has been marked by alternation, with each suc- dios established for the purposes of realizing commissioned, cessive decade, between relativelystrict and liberal leaderships. autonomous electroacoustic compositions-were established The totalitarian 1950s gave way to the freer conditions of the in the former Czechoslovakia: the Experimental Studio at the 1960s. The , as a result of the displacement of the liberal- Radio Broadcast Station in Plzeni, the Experimental Studio at Party Chairman, Alexandr Dubcek, and the invasion thinking the Radio Broadcast Station in and the Audio Stu- of the WarsawPact armies under Soviet in the late Bratislava, leadership dio at the Radio Broadcast Station in All other studios 1960s, were a decade of renewed constrictive rule, while the Prague. were classified as unofficial; in other words, these were studios better years of the 1980s ended with the decisive overthrow of in which the production of autonomous (i.e. not as Communism during the November 1989 Revolution (as it is composed accompaniment for other media) electroacoustic known in the Czech and Slovak Republics). composi- tions was not the primary objective, and had to These conditions are reflected in the history of electroa- work in semi-secrecy [4]. However, all electroacoustic coustic music. Although political obstacles are this produc- apparent, tion had to be or restrained to remains rich. In 1971, for Czech musi- cleverly disguised prevent gov- history quite example, ernment closure of even the official studios. cologist Dr. Eduard Herzog had already translated 's La Musique concreteinto Czech under the title Konkretnihudba (Musique concrete) [3]. Festivalsof new music GENESIS were also in the late 1960s, with the International organized Electroacoustic music in the Czech and Slovak Seminars on New Music and the of Republics un- Exposition Experimental in the of Music and forums for the dissemi- officially originated private experiments mathemati- providing superb important cian Antonin Svoboda in the nation of new domestic as well as international electroacoustic years immediately following World War II. his return from visits to the United music. Czechoslovakian music competitions such as Musica Upon States, Svoboda became interested in unifying early Nova (1969-1970) were extremely important, encouraging not comput- only friendly competition for better compositions but also a Iibor Zajicek (musicologist), San Jose State University, School of Music, One Washing- ton San CA 95192, U.S.A. slowly emerging respect for electroacoustic music on the part Square, Jose, of radio-station officials. Internationally, too, Czechoslovakian Received 10 January 1994. solicited by Larry Wendt. electroacoustic compositions have fared well in many compe- Manuscript

( 1995 ISAST LEONARDO MUSIC JOURNAL, Xol. 5, pp. 39-48, 1995 39 ers with music. Specifically, he was inter- portant tasks Lebl and Kabelai took on Lebl inaugurated the seminar with a ested in automated music such as was the aggressive pursuit of all poten- statement defining its vision, which was Mozart's Musikalisches Wiirfelspiel (Musi- tial relationships between the Commis- to focus on "the elementary methods of cal Dice Game), K. 516f, in which mea- sion and government-controlled radio ." Lebl continued: "In- sures can be freely interchanged to or television stations. tentionally, we want to avoid the prob- produce a stylistically coherent perfor- In addition, Kabelac gave ongoing lems of aesthetics. We do not want the mance [5]. Although Svoboda's experi- presentations at Commission meetings seminar to be a speed-course on practi- ments did not immediately yield tan- based on his findings from visits to cal applications, nor an academic dis- gible results, a more significant offshoot Pierre Schaeffer's studio in Paris during cussion, but [we do want it to be] about came to fruition with the formation of the 1950s [10]. These presentations fu- the unification of elementary technical professional relationships between eled further discussion and debate. and problematic issues, and . . . it Svoboda and the and techni- In early 1963, Lebl was elected Chair- [should] focus on questions of method- cians he worked with, who were also per- man of the Cybernetic Commission. At a ology" [14]. sonal acquaintances. Svoboda, compos- meeting held on 11 February 1963-and The seminar was organized according ers Miloslav Kabelac and Jan Rychlik, at subsequent meetings in the early part to presentations on specialized subjects. and musicologist Vladimir Lebl [6] of that year-the members of the Com- Attendees gave the following lectures formed a union that would eventually mission reached agreements about the (in the order in which they are listed): lead to the official beginning of elec- instrumentation and facilities a future "Elementary Questions of ," by troacoustic music in Czechoslovakia, studio should contain, as well as the Antonfn Spelda; "The Function and De- with production in sanctioned studios. most suitable location for such a studio: scription of Instruments in the Audio 's visit to and lectures in the Radio Broadcast Station in Plzei. Laboratory," by engineer Milan Prague around 1960 were tremendously The studios at this station had already Meninger; "The Composer in the Audio inspirational to composers interested in been the site of successful experiments Laboratory," by Miloslav Kabelac, electroacoustic music [7]. The 1961 in stereophony conducted by the Eduard Herzog and Bohumil Cipera; publication of a debate on electroacous- Vyzkumny utstav rozhlasu a televize "Graphical and Symbolic Methods of tic music witnessed the growing interest (VURT), the government-controlled Re- of Electronic Music, in this genre among Czechoslovakian search Institute of Radio and Television Musique Concrete, and Music for Tape," composers at the time. Along with [11]. The studios at Plzein were new, by Vladimir Lebl; "Music and Cybernet- Svoboda, five composers (Jarmil state-of-the-artfor their time and conve- ics," by Antonin Svoboda and Antonin Burghauser, Svatopluk Havelka, Rychlik, niently close to the capitol city of Prague Sychra; and "Problems of Spatial Repro- Vladimir Sramek and Vaclav Trojan) and all of the important composers in- duction," by LadislavJanfk [15]. In addi- and two musicologists (Eduard Herzog volved [12] (Plzefi is about 60 miles tion, Kabelac made several presenta- and Lebl) took part in this debate, from Prague). In early March, the tions on compositional techniques which was published in the newspaper Commission's members inspected these throughout the seminar, and Slovakian Litercrni noviny [8]. facilities and conferred with the Plzefi composers Ilja Zeljenka and Jozef The first real progress was made at Radio Broadcast Station's Director of Malovec (of the Radio Broadcast Station the meeting of the Society of Czechoslo- Broadcasting, Bohumil Samek, and a in Bratislava) and engineer Ivan vakian Composers on 15 June 1961 in technical engineer from VURT, Ladislav Stadtrucker (of the BratislavaTelevision Prague, where a commission on elec- Janik. This first step signaled future co- Studios) spoke about the progress un- troacoustic music was formed by operation between the Commission and dertaken at their respective studios in a Havelka, Kabelac and Vaclav Kucera VURT. On 20 June, another meeting presentation titled "Slovakian Dusk." (composers), Antonin Sychra (musi- took place, at which the members of the The seminar included discussions about cologist) and Svoboda [9]. The commis- government agencies proposed that the and performances of some 25 electroa- sion was to concentrate not only on dis- studio be directed by government coustic compositions from various com- cussions and debates of current forces. The Commission disapproved, posers in throughout the developments in electroacoustic music, but nevertheless some progress had world. Participants were able to experi- but also on cybernetics; hence, it was been made. At a meeting on 29 June, ment and compose short etudes with a titled the Cybernetic Commission. The the state forces proposed that the studio wide range of new instruments [16,17]. members were immediately aware of the not only be equipped according to the The conclusion reached at the semi- fact that, in order to make any definitive wishes of VURT, but that any research nar was that an experimental studio progress toward the creation of electroa- and music produced there be redirected should be established in one of the stu- coustic music, a studio would have to be to benefit VURT's research. dios at the Radio Broadcast Station in organized in either a radio or television The next, and probably most impor- Plzefi as soon as possible, preferably later station: the Society of Czechoslovakian tant, step in the development of elec- that year. It was to be equipped with in- Composers lacked the funding and troacoustic music in Czechoslovakia struments provided by VURT [18]. knowledge required to organize and es- was the First Seminar of Electronic Mu- Due to financial and administrative tablish a studio from the ground up. sic [13], held 3-7 May 1964 by the problems, electroacoustic composition On 10 January 1962, the members of Commission at the studios of the Radio at the Experimental Studio did not be- the Commission took a step toward Broadcast Station in Plzefi. Its exclusive gin untilJanuary 1967. The first compo- founding a studio by inviting L6bl and focus on electroacoustic music made sition, Karel Odstrcil's Konflikt 42, was Kabelac to join them. These two served this the first official seminar of its kind realized on 23 June 1967 [19]. Two as spiritual leaders in the Commission's in Czechoslovakia. Fifty-seven people sound engineers, Cestmir Kadlec and campaign to establish electroacoustic participated, ranging from composers Vaclav Jeek, were hired to work full music in Czechoslovakia. Among the im- to sound engineers to musicologists. time at the studio, and Konflikt 42 was

40 Zajicek,The History of Electroacoustic Music in the Czech and Slovak Republics followed by two additional compositions in 1967 and 11 compositions in 1968. On the average, about 10 compositions have been realized at this studio each year, with a total of over 119 composi- tions produced to date. Due to the inva- sion of Czechoslovakia by the Warsaw Pact armies in 1968 and its subsequent political ramifications, the number de- clined during the mid-1970s, with an av- erage of only four compositions pro- duced per year during this period [20]. The primary motivation for the cre- ation of some of these compositions was justification of the acquisition of a par- ticular instrument: Communist officials who authorized a purchase often expected immediate production of a composition making use of the new equipment [21]. All compositions auto- matically became the copyrighted prop- Fig. 1. The Experimental Studio at the Radio Broadcast Station in Plzen (1993). The stu- erty of the Radio Broadcast Station, dio was not exclusively used for the production of electroacoustic music, although elec- troacoustic music was Sound from the station's other while composers received only small fi- production prioritized. engineers nancial honoraria and recording studios could borrow some of the experimental studio's instruments. After the meager royalties revolution, to form a radio station, Kadlec as the from their The Jezek departed private leaving only performances [22]. pri- sound engineer. mary dissemination of these composi- tions was through broadcasting by the Radio Broadcast Station during the from the Radio Broadcast Station in Pressured by the expanding interest to more obscure hours of the evening, al- Brno: Jiri Hanousek and Milos Sindelar, establish their own studio in Brno, though live performances for small au- who had even visited the Plzein Radio Hanousek and Sindelar approached the diences at the studio or for larger audi- Broadcast Station prior to the First director of the Radio Broadcast Station ences at various locations in Plzefi also Seminar. Located about 150 miles south- with hopes of creating an independent took place, and were enthusiastically east of Prague, Brno and its institutions studio. The director enthusiastically con- greeted [23]. had alwayspossessed the luxury of being sented, with the understanding that the The Experimental Studio, whose ac- politically less "watched" than institu- new studio would be located on the Ra- tivities were primarily controlled by tions closer to-or indeed within- dio Broadcast Station's premises. To this Prague composers (it could be said that Prague itself. During the 1950s, a new end, Hanousek was appointed director it was essentially a Prague-controlled stu- generation of composers became in- of BES and Sindelar technical director. dio), has witnessed a decline of composi- creasingly interested in all types of con- BES began to operate in the autumn of tions in recent years due to the founding temporary music, including electroa- 1964, and the first composition realized of the Audio Studio at Prague's Radio coustic composition. These new there was Huprolog No. 1, by Emanuel Broadcast Station. In 1994, only one composers-Alois Pinos, Miloslav Kuksa, a 1-min etude [25]. Overall, the composition-Spacil's Hudba pro Plzeh Istvan, Rudolf Rfuicka, Josef Berg and studio produced some 40 compositions (Music for Plzefi)-was produced there. others-were students at the Janackova until it closed in 1970 [26]. I visited the Experimental Studio (Fig. akademie muzickych umeni (JAMU), The invasion of the Warsaw Pact 1) in 1993 and, with Kadlec's help, com- the Janacek Academy of Musical Art in armies was especially destructive to this piled a complete list of its equipment Brno, which was gradually developing studio. In line with the social realism (see Appendix). into a musically progressive university as predominant in music at the time, a new a result of the presence of these stu- Communist director of the Radio Broad- dents. Due to their liberal attitudes, stu- cast Station pursued the liquidation of DEVELOPMENTS IN BRNO dents such as these manifested the BES and its instruments. Arguing that Other Czechoslovakian cities also con- greatest interest in electroacoustic mu- electroacoustic music did not further so- tributed to the development of electroa- sic in Czechoslovakia. As a result of the cial realism's goals, he finally succeeded coustic music, each providing unique growing interest in the genre in Brno with his plan in 1969-1970. However, input. Brno, in Moravia, was not recog- and the inconvenient distance (about several instruments-various tape re- nized for its technological richness, but 200 miles) between Brno and Plien, the corders, , etc.-were saved for its role as a center for the educating two sound engineers presented their and appropriated byJAMU [27]. of composers interested in electroacous- own lectures at the studios of the Radio The consequences for the electroa- tic media. Brno's Brnenske elektronicke Broadcast Station in Brno during the lat- coustic music in Brno were two- studio (BES), like the studio in Plzefi, ter half of 1964 [24]. Presentations were sided: the end of an established, produc- was established in the city's government- made using the radio station's existing tive studio also meant the creation of operated Radio Broadcast Station. instruments, which were all standard el- the first Czechoslovakian academic pro- Among the 57 attendees of the semi- ements of a typical recording studio's gram devoted to electroacoustic music nar in Plzefi were two sound engineers technical equipment at that time. education and production. This pro-

Zajicek,The History of Electroacoustic Music in the Czech and Slovak Republics 41 gram single-handedly broadened the have not only made the city a great pro- of realizing sound effects for genres such dissemination of electroacoustic music ponent of this genre, but have also se- as Horspiel [38]. In the following year, in Czechoslovakia. cured it permanent renown. this sound effects studio acquired official JAMU instituted a graduate program Electroacoustic music in Bratislava status and was renamed the Experimen- in electroacoustic music on 1 September originated in two sources: the Audio Stu- tal Studio. Peter Kolman was appointed 1969 [28]. Students were accepted into dio at the television station and the Ex- musical director and engineer Peter the program on the basis of their inter- perimental Studio at the Radio Broad- Janik became technical director, with Jan est in the subject and were expected to cast Station. In addition to Backstuber as Tonmeister [39]. realize compositions at the rate of one private experiments using Sonet tape re- In 1966, the production of electroa- per semester. From 1969 onwards, all of corders in 1958, Bratislava composers coustic music became an official part of the electroacoustic compositions com- Roman Berger, Pavel Simai, Peter the studio with the composition ofJozef posed atJAMU were graduate student Kolman and Ilja Zeljenka joined engi- Malovec's Orthogenesis[40], which was works. The program was taught by neers Ivan Stadtrucker and Jan Rucka in chosen Second Finalist at the First Inter- Rudolf Ruzicka. The instruments ac- the studios-or the sound department- national Electronic Music Competition quired from BES were installed in of the Television Station in Bratislava to at Dartmouth College in Hanover, New JAMU's studio, which was known as the realize the first electroacoustic experi- Hampshire, in 1968 [41]. In the mean- Audio-Visual Studio. Due to the already ments in Bratislava. With the inception time, composers from the former televi- liberal atmosphere of the music scene in of electroacoustic music, the sound de- sion station studio gradually joined the Brno and the new establishment of the partment was referred to as the Audio Experimental Studio, leading to the in- electroacoustic studio, students from all Studio. These experiments began with evitable move to a new location in parts of Czechoslovakia were attracted the production of for Bratislavain 1968. to Brno's JAMU. Among them, some of during the late 1950s. The first success- Since its opening in 1965, the Experi- the most prominent were Arnost Parsch, ful score was for the movie Sestdesiatpdt' mental Studio has changed its facilities Milos Stedroi, Milan Slavick), Marta milionov(Sixty-five Million) and was real- five times. As a result of the move in Jirackov, Jozef Gah6r and Jan Jirasek. ized by Zeljenka in 1961 [32]. The 20- 1968, the studio received its own record- Following the 1989 Revolution, min composition was created with basic ing studio, facilitating a steady increase JAMU's directors hired composer Daniel instrumentation: one sine-wave genera- in production from one composition in Forr6 to accompany Ruzicka in teaching tor, one ring modulator and four tape 1967 to seven in 1971. To date, the stu- electroacoustic music and composition. recorders [33]. Zeljenka also produced dio has produced over 120 compositions Ruzicka continued to teach older tech- two notable electroacoustic etudes dur- [42]. Today, the Experimental Studio is niques, such as electronic music and ing this period: Stzidia0,2 and Studia 0,3 lead by PeterJanik. Juraj Duris serves as musique concrete, while Forr6 taught (1962). Composers Jozef Malovec and sound engineer and program adviser re- compositional applications of MIDI tech- Ladislav Kupkovic, who also worked on garding the orientation of electroacous- nology. JAMU's program was unique in soundtracks for various movies, joined tic music, Andrej Zmecek is sound engi- the Czech and Slovak Republics because, the studio in the early 1960s. neer and program adviser regarding the following the events of 1989, Yamaha It is extremely important to note that orientation of experimental word and loaned JAMU several rent- all of the electroacoustic music realized drama pieces and radiophonics, and free, establishing an unprecedented co- at the Audio Studio was composed dur- Ernest Walzel is Tonmeister [43]. (See operation between a university and a cor- ing obscure hours of the night in order Appendix for a list of the equipment in poration. (For a complete list of JAMU's to avoid arousing the suspicions of gov- use at the studio as of summer 1993.) equipment as of summer 1993, see Ap- ernmental officials and invoking their An important role of the Experimen- pendix). Ironically, JAMU's graduate persecution (i.e. job terminations). In tal Studio has been that of organizer of program in electroacoustic composition Roman Berger's words, "everything was the International Seminars on New Mu- has recently ceased to exist-not as a re- done at night . . . everything was under- sic. Three successful seminars were held sult of political pressure, but due to a ground, in essence" [34]. The cleverjus- in Smolenice-a town located 25 miles new type of problem introduced by de- tification for composing this music was northeast of Bratislava-from 1968 to mocracy: insufficient funds [29]. These that it was intended to accompany films 1970. Stockhausen, Kagel, Ligeti and insufficient funds have providedJAMU's that were produced by the government. Lutostawski were among the partici- conservative administrators with justifi- Remarkably, 47 compositions were real- pants. These seminars were discontin- cation for terminating the electroacous- ized at this studio during its brief exist- ued following 1970, and it was not until tic program and thereby discharging ence [35]. Unfortunately, the Audio the recent Revolution of 1989 that the Ru2zika and Forr6 [30]. Studio's success was short-lived, dying leaders of the Experimental Studio were out with the formation of a more sophis- once again able to take up a leading role ticated studio at the Radio Broadcast Sta- in the of seminars and fes- BRATISLAVA organization tion in Bratislava (the Experimental Stu- tivals. The International Forum of Elec- For several reasons, the history of elec- dio) [36,37]. Due to the "illegality" of troacoustic Music, held in Dolna Krupa, troacoustic music in Czechoslovakia may the genre, the number of electroacoustic is evidence of this renewal. have its ultimate beginning in the capitol composers was too few to support the of the Slovak Republic, Bratislava. The existence of two studios in the same city. PRAGUE first experiments in established studios The origins of the Experimental Stu- took place in Bratislava [31]. Bratislava dio at the Radio Broadcast Station in Perhaps the most curious history of a has alwayshad the most professional and Bratislava date from 1964, when a city's contribution to the growth of elec- best-equipped studio in both Republics. "Sound Effects Studio" (Trikova rezie) troacoustic music is that of Prague. In Finally, Bratislava'sinternational festivals was put into operation for the purposes some ways, Prague was the backbone be-

42 Zajicek,The History of Electroacoustic Music in the Czech and Slovak Republics hind the emerging art form in Czecho- studios in Prague, also became interested The acquisition of some of the slovakia. Pierre Schaeffer, Francoise in the incorporation of electroacoustic studio's instruments resulted from an Bayle and Guy Reibel visited Prague in music into in the early 1970s. As a ironic twist of fate. During the Commu- 1966 to present lectures about their stu- result, the studios were equipped with an nist regime, political leaders built a con- dio, I'ORTF, and electroacoustic music electroacoustic studio, the Studio for gress hall for their annual meetings. in general. In 1969, Gottfried Michael Electronic and Experimental Sound, for These meetings were to be broadcast Koenig, Frits Weiland and Stan generating sound effects. Only one au- over the radio, which required expen- Tempelaars, from Utrecht University in tonomous composition was produced sive equipment from the West. After the the , presented lectures in there: Zbynek Vostirak's Jedno ve vsem Revolution, the congress hall became a Prague on electroacoustics, the history (One in Everything) [46]. venue for events such as , and and techniques of electronic music and Prague's Radio Broadcast Station- the equipment was transferred to the analysis of existing compositions [44]. which had facilities at several locations newly established Audio Studio at the However, in other ways Prague clearly throughout Prague-not only housed a Radio Broadcast Station. lacked other cities' sophisticated institu- primitive studio, "R-52,"but was also the "The goals of the Audio Studio are not tions and perhaps also their more liberal site of the Second Seminar of Electronic only to provide ... facilities for compos- atmospheres. Music, held 14-16June 1965. Its purpose ers to realize compositions here," states The Electronic Studio at VURT in was to educate people who were unable Jirasek, "but also to give an opportunity Prague was the biggest manufacturer of to attend the First Seminar of Electronic to those professional composers to com- custom-built Czech and Slovakian elec- Music; there were at least 66 attendees at pose electroacoustic music who have troacoustic instruments and was respon- this event [47]. Unfortunately, one of never before worked in this genre" [49]. sible for designing and equipping the Ex- the Radio Broadcast Station buildings, perimental Studio in Plzeni (see which happened to house R-52, burned STYLE Appendix for a list of the studio's equip- down in 1969, taking with it any appar- ment in 1965). In addition, from 1965 to ent hopes for the establishment of a pro- As was the case in many studios in the 1966, VURT's Electronic Studio pro- fessional studio in Prague [48]. early stages of electroacoustic music his- duced 10 electroacoustic compositions. However, after the political events in tory, music styles in Czechoslovakia were The most significant wasJan Hanus's op- 1989, a studio was established in Prague: greatly influenced by the available instru- era, Pochodei Prometheova(Prometheus's the Audio Studio at the Radio Broadcast mentation. Although composers in all of Torch). Station. Its artistic director isJanJirasek, these studios realized and experimented In 1970, the Audio Studio at Prague's and the sound engineer is Antonin in all contemporary styles, some styles music university, Akademie muzickych Nemec. Thus far, only a few composi- used more than others characterized a umeni (AMU) [45] was established in tions have been realized there, but the studio's "sound."A great deal of copying support of Kucera's compositional studio has quickly achieved a technical of other styles occurred, which is typical course. Engineer Vaclav Syrovy and Ivan standard comparable to that of other stu- of the beginning of any musical era. Kurz, a graduate student in composi- dios in the Czech and Slovak Republics The work produced in Plzei's Experi- tion, were placed in charge of develop- (see Appendix for a list of the studio's mental Studio can be characterized basi- ing and managing the studio. Although equipment). cally as musique concrete, which is de- AMU's aim, like that ofJAMU in Brno, was the pedagogic advancement of elec- 2. The studio at AMU in Vaclav The troacoustic music, AMU's Audio Studio Fig. Prague (1993). (Photo: Syrovy) digital studio is the control room for all of the electronic studios that catered to the and their recording together mainly faculty comprise AMU's Audio Studio. In addition to producing electroacoustic music, the Audio exploration of the new genre until 1980, Studio staff is involved in recording the AMU students' concerts and recitals. when the first program in electroacous- tic music was offered at AMU. After the demise of Communism in 1989, AMU was able to relocate to a new building- the newly restored Lichtenstein Pal- ace-in Prague in 1993-1994, and the AMU Audio Studio has since been allo- cated more facilities, such as additional recording studios. Today, the Audio Stu- dio has some of the finest facilities and digital instruments available, making it the most sophisticated studio among of- ficial or unofficial studios in both coun- tries. Its facilities comprise a digital re- cording studio (Fig. 2) (see Appendix), a classroom, a production room, a dead room (anechoic chamber) and three laboratories/repair rooms. The general public is now able to rent use of the Au- dio Studio. The filmmakers at Barrandov, Czech- oslovakia's government-controlled film

Zajicek,The Historyof ElectroacousticMusic in the Czech and SlovakRepublics 43 pendent on processing and editing re- Kubicka's Studio Jakub have slowly 1 Digital Pulse Code Modulation corded sound sources. The most famous sprung up. Operational since 1991, PCM-501 ES processor electroacoustic composition in the Czech Stfidio Jakub maintains productions 1 Roland S-50 sampler and Slovak Republics is a concrete com- ranging from music for art shows, films 1 Roland SH-2000 sampler position produced by the Experimental and commercials to autonomous elec- 1 Roland TR-808 drum Studio, Miloslav Kabelac's E fontibus troacoustic compositions [51]. Such a 1 Fender piano bohemicis(1972), a monologue with back- broad range of activities is indicative of 2 Peekel TF 824 filters ground sounds. The composition exists the newly formed home studios for rea- 1 Bruel & Kjaer 5587 filter in two versions-one in Latin, the other sons of subsistence. Forr6's studio, 2 Yamaha Q 2031 graphic equalizers in Czech. The sources for the composi- Forrotronics, though operational since 2 YamahaEMP 100 multi-effectprocessors tion's text are a speech given at the fu- 1983, still functions as both his private 1 Dynacord DRP 16 digital reverberator neral of Karl IV,from the CzechChronicles studio and a small, private educational 1 Yamaha REV 7 digital reverberator by Kosmas (1045-1125), and a speech by studio for students of electroacoustic mu- 1 YamahaSPX 9011multi-effect processor Jan Hus (1372-1415). Due to the ending sic [52]. Since the autumn of 1994, a 1 Peavey Addverb digital stereo reverb/ of Efontibus bohemicis,which was an ap- modest electroacoustic music program processor peal for liberation, the composition was has been instituted at the conservatoryin 1 EMT Compressor absolutely not disseminated in any way Ostrava, northern Moravia [53]. 1 Eventide 1745M digital delay during the 1970s and 1980s. Not until af- Furthermore, public efforts to propa- 1 Quadra 950; : ter 1989 was it broadcast once again. gate electroacoustic music have once Protools, Soundesigner (DINR- BES, as its name suggests, was an elec- again reached the strength of the pre- Noise Reduction) tronic studio, while the Audio Studio at 1970s. The Czech Republic's established 1 Atari 1040; software: C-Lab Notator the Television Station in Bratislava pro- Spolecnost pro elektroakustickou hudbu version 3.1 duced musique concrete, electronic mu- (SEAH, the Society for Electroacoustic sic and music for tape. Berger believes, Music), 49 members strong, occupies it- JAMU's Studio 1-11 in Brno though he cannot validate this hypoth- self with various activities related to elec- 1 Atari 1040ST; software: CuBase, esis, that music created at this studio "was troacoustic composition. Its co-chairmen Notator 3.0 closer to that of the French musique are Karel Odstrcil and R. Ruzicka. Hav- 1 Roland W-30 because it was concrete, [the music] ing assumed the role previously held by 1 Jolana Rytmatik Professional pulse more influenced by some ethnic or psy- Plzef's Radio Broadcast Station, SEAH is generator chological factors at the time" [50]. In now responsible for organizing Musica 1 Alesis MIDIVerbIII other words, Berger believes that musi- Nova. Brno's Exposition of Experimental 1 Oberheim Matrix-1000 concrete was a far more que sensitive Music has once again been held since 1 Tascam MM-1 and thus more style, appropriate than 1990, serving as a festival of all types of 1 Yamaha MT 3x other electroacoustic styles were. new music [54]. 1 VURT Antares 2 Bratislava's freelance Peter composer With its strong musical roots and this 1 VURT Programov6 Rizeny Syntezator combines Machajdik with im- renewal of activity, the Czechs' and Slo- (Program-Control Synthesizer) in live provisational techniques perfor- vaks' electroacoustic future seems 1 Tesla BM 430 oscilloscope [55] mances. In a recent performance at In- brighter than ever before. Hopefully, tervention the 1994 '94, Berliner Festival today's generation of electroacoustic mu- The Experimental Studio Neuer Musik ( Festival of New Mu- sic composers will display the same types in Bratislava his of enthusiasm and determination as sic), Machajdik performed composi- the Today's Experimental Studio is made tion IntimeMusik with four other older of artists, generation composers did. up of two studios (or rooms), A and David Moss being one of them. B. Instrumentation in the two rooms Alois Pinios, a Brno composer, be- is as follows: APPENDIX: EQUIPMENT lieves that the limited technical re- Room A sources AT CZECH AND SLOVAK available to Czech and Slovakian 1 Studer 904/A with Master Mix MX of electroacoustic music have ELECTROACOUSTIC STUDIOS composers 644 mixing console forced them to focus more on composi- Lists appear in the order in which they 1 Studer A 800 MK III 16-track tape tional processes and . are mentioned in the text. recorder It is that, the tech- my opinion despite Dolby A noise reduction system nical insufficiencies and Iron-Curtain The Experimental Studio 2 Studer A 812 tape recorders dictates of the Communists' aesthetic of in Plzen 2 Studer A 807 tape recorders "social realism," Czech and Slovakian 1 Tesla mixing console (24/8/2) 2 Studer A 730 CD players electroacoustic tend to compositions 2 Tannoy speakers 2JBL 4345 monitors the same characteristics of form, display 2 Grundig speakers 1 Kurzweil K 250, version IV digital and aesthetics as their style, technique 1 Klark Technik Time Spectrum synthesizer Western counterparts. Analyzer 1 Macintosh SE 4 Model 361 1 Studio 3 MIDI interface AFTER 1989 Dolby Systems, A-Type, Opcode 2 Studer A-80 tape recorders (stereo) (SMPTE, MTC) The more opportune times of the new 1 Studer A-80 tape recorder (8-track) 1 ARP 2015 synthesizer democracy have had a positive effect 2 Revox PR99 tape recorders (stereo) 1 APHEX dominator and upon the electroacoustic music scene. 4 DAT Sony DTC 55ES 1 Sennheiser VSM 201 Private studios such as Vit'azoslav 1 Sony SL-HF 950 Super Beta Hi-Fi 1 AKG-ADR68-K digital sound processor

44 Zajicek,The Historyof ElectroacousticMusic in the Czech and SlovakRepublics 1 Lexicon PCM 70 digital reverberator The Audio Studio at AMU 1 Studer A 820 multichannel tape re- 1 Yamaha SPX 90 II digital sound (Prague) corder with Dolby A System processor Digital Recording Studio: 1 Studer A 80 tape recorder with Dolby 1 Yamaha REV 5 digital reverberator 1 mixing console (20/8/2) A System Room B Genelec 1031 A monitors 1 Studer A 807 tape recorder with 1 Studer Dyaxis 2+2 System: Studer 1 Digidesign Promaster 20 Dolby A System Editech 4-channel digital audio pro- 1 Apple Quadra 950, HD 440 Mb, 2 x 1 Studer A 807 tape recorder duction system and 62-min direct-to- 1.6 Gb 1 Sony Betamax SL HF 950 with Sony disc recording system (VITC, 1J.L. Cooper CS-1 controller PCM 701 processor SMPTE, MTC sync) DINR (Noise reduction) 1 Sony R DAT 1 Macintosh IIci 5/80 HD and Syquest 1 Tascam DA60 digital recorder 1 Yamaha Rev 5 digital reverberator 4 Studer A 80 RC tape recorders 1 Tascam DA-88 (8-track) digital re- 1 Yamaha Rev 7 digital reverberator 1 Revox A 700 tape recorder corder 1 Lexicon PCM 70 digital processor 1 Studer 169 transportable mixing con- 1 Studer D 780 digital recorder 1 Yamaha SPX 90 II multi-effect proces- sole (12/4) 1 Studer D 740 CD recorder sor 1 Sony PCM 2000 digital audio recorder 1 Studer A 80 analog tape recorder 1 Peavey Addverb digital processor 1 Sony HF 950 Super Beta SL PCM 601 (19.38 cm/s) (7.5 and 15 in/s) 1 Roland VP 70 voice processor esD digital audio processor Dolby A/SR 1 Yamaha R100 reverb processor 2JBL 4345 monitors 1 AKG ADR 64K reverberator Monitors: Genelec 1022B Triamp, 1 Studer mixing console (16/6/2) 1 Eventide H 3000 SE harmonizer Nivox Model 4 1 Macintosh Quadra 950 (40 MB RAM) 1 Cedar DC-1 de-clicker 1 Atari Mega ST 4; software: 2 Sample Cell II cards (2 x 32 MB RAM) 2 Klark & Teknik DN 27A graphic * Steinberg Pro 24 2 Mark of the Unicorn MIDI mixers equalizers * Steinberg Synth Works DX TX 1 Mark of the Unicorn MIDI Time 1 Klark & Teknik DN 60/RT 60 analyzer * Steinberg Synth Works D 50 Piece II 1 Aiwa HHB Pro portable DAT * C Lab X Analyzer 1 Hewlett Packard LaserJet Printer 4M 2 AKG K 1000 * C Lab Notator, Roland MC 500 MkII 1 Data Streamer Disk ext. mem. 1 commercial record player, CD player Micro Composer (2 x 32 min. stereo); software: and tape recorder 1 Roland KR 3000 * DigiDesign Electronic Music Studio: 1 Roland D 50 * SoftSynth 1 Soundcraft Spirit AUTO mixing con- 1 Yamaha DX-7 IID * Performer sole (16/8/2) 1 Roland D 110 * 1 Apple LC II: Pocode Studio MIDI in- 1 Yamaha TX-802 * MacMix 3.2 (for Dyaxis) terface; CD-ROM;software:J.L. Coo- 1 Yamaha TX-16 W sampler * Studerbacker II (for Streamer) per-Spirit, MAX, Book of MIDI 1 Kurzweil 1000 SX string expander * Soundesigner Mniv Yamaha NS-40M monitors and PC 1602 1 Roland TR 626 Rhythm Composer * Soundesigner II (for Sample Cell) 1 Steinberg SMP 24 SMPTE MIDI pro- [56] 1 Sony DTC 77ES DAT cessor [59] 1 Fostex E-16 plus Yamaha YMC 10 syn- The Electronic Studio at VURT chronizer Acknowledgments 1 Atari 1024 software: (Prague) STF; Twenty I would like to thank Allen Strange for his help and Four, Notator support, Larry Wendt for soliciting this article and 1 VURT MS 1 manual synthesizer Grace Sullivan for her the editorial 1 MS-20, 1 patience during 12 Tesla BM 365 sine-wave generators Analog synthesizers: process. Transcendent 2000 1 VURT white-noise generator with a 1/3-octave filter Digital Synthesizers: 1 Yamaha DX-5, 1 References and Notes DSS-1 1 VURT SRK-SG1 white-noise generator Korg 1. Interview with Roman 9 1993. Yamaha 1 Yamaha Berger, July 1 VURT ORF 1 fine-tune filter Samplers: TG-77, beauty of these interviews with Berger and others TG-500 was the detailed and of infor- 1 VURT SRK-UH 1 low-pass filter insightful rendering Effects: mation that would otherwise never have been 1 VURT SRK-UV1 high-pass filter chronicled in published sources. 1 VURT SRK-CH3 universal filter * 1 Yamaha SPX 990 * 1 DRW 2. These interviews were conducted as research for 1 VURT ER 2 effect reverberator Korg 2000 Master's "An * my thesis, Oral History of Electro- 1 VURT EM 2 effect modulator 1 Korg DDD 1200 (dual delay) of the Czech and Slovak Republics." * 1 Electro Harmonix vocoder InJanuary 1993, Czechoslovakia separated into two 1 VURT relay pulse generator * 1 dbx 1531 X independent countries, the Czech Republic and 1 VURT CR 1 timing pulse regulator graphic equalizer the Slovak Republic. Previous to this date, Czecho- * 2 dbx 363 X noise slovakia had existed as a union of the Czech and 1 VUZORT mono tape recorder gates * 2 dbx 563 X silencers Slovak states. While the majority of the history out- 1 Sander-Jansen SJ 103 mono tape re- lined in this article to the in which AKG K 400 belongs period corder headphones Czechoslovakia existed as a single nation, I have 1 console 1 commercial tape recorder [58] chosen to refer to the "Czech and Slovak Repub- mixing lics" in my title because of the continuity of a dis- 2 R 3 audio systems tinction between the two regions. 4 VURT ZV 100 10 W The Audio Studio at the Radio 3. Pierre Schaeffer, La Musique concrete (Paris: 1 VURT ZI 010 indicating amplifier Broadcast Station in Prague Presses universitaires de France, 1967); translated 1 Tesla BM 354 universal counter 1 mixing console as Konkretni hudba by Frantisek Tvrdy (Eduard 1 VURT custom-built reverb 1 Studer S 903 with Audio Kinetics MX Herzog) (Prague: Supraphon, 1971). Herzog measuring found it necessary to use an alias to protect his chamber [57] 644 Mastermix identity as translator of this text.

Zajicek,The History of Electroacoustic Music in the Czech and Slovak Republics 45 4. Interview with R. Riuicka, 6July 1993. 27. Interview with A. Pinos, 8July 1993. search Institute of the Radio and Television), Rozhlasova a televizni technika 6, No. 4, 98-103 5. Tomas 15 28. Ruiicka Svoboda, personal correspondence, [4]. (1965); J. Vitek, "Prvni fispechy studia May 1994. elektronicke VURT" (First Successes of the 29. Interview with R. 15 1994. hudby Ruzicka, July Studio of Electronic Music at Rozhlasovt a 6. Interview with E. 9 1993. VURT), Herzog, August televiznitechnika No. 3 andJ. 30. Interview with K. Odstrcil, 15June 1994. 6, (1965) p. III; Vitek, "Zarizeni k a zkracovani Zvokovych 7. Herzog [6]. proluiovani 31. While the studios of the sound department of snimku" (Extending and Contracting the Sound 8. Ivan Poledinak, "Hudba, ktera se rodi v Bratislava'sTelevision Station did not amount to an Recording), Rozhlasovaa televiznitechnika 6, No. 2, laboratori" (Music Born in a Laboratory), Literarni official electroacoustic studio, they did support the 33-42 (1965). (The latter article discusses prob- noviny (18 May 1961). (In Czech.) A roundtable first electroacoustic experiments of any kind in lems of extending and contracting the sound re- discussion about electronic and algorithmic music Czechoslovakia. cording svithout influencing the pitch height and and musique concrete. This is probably the most presents solutions offered by the Time Regulator, 32. Ivan zvukoveho important doctmented indication of Czech and Stadtrucker, "Historiajedneho a tool developed at the Electronic Studio at of a Slovakian composers' growing desire to acquaint pracoviska" (History Sound Studio), Slovenski VURT.) themselves with Western electroacoustic music dur- hudba 13, Nos. 9-10 (1969) p. 345. 58. List V. ing this period. Unfortunately, half of the sources compiled by Syrovy, personal correspon- 33. Stadtrucker [32] p. 344. 20 November 1993. that I have found incorrectly list the publication dence, date as 18 November 1961. 34. Berger [1]. 59. List compiled byJ.Jirasek, summer 1993. 9. From the archives of the of Czechoslova- Society 35. Stadtrucker [32] pp. 348-349. 60. Elektroakustickdhudba [41]. kian Composers and Artists, Svaz ceskoslovenskych skladatelu a umelcu (SCSKU), housed at time of 36. Berger [1]. writing at the Asociace htdebnich um6lcu a vedcu (Association of Musical Artists and Scientists) in 37. Stadtrucker [32] p. 347. Bibliography Priagte. Author'sNote: Unless otherwise stated, articles 38. "Experimental Studio: Radio Bratislava," pam- pub- lished in the following journals are written in the 10. Ru.icka [4]. phlet (Bratislava:Edition Slovensky rozhlas, 1991). languages indicated: 39. snimkov" 11. I ocated in Prague, VURT had an Electronic Stu- Jan Backstuber, "Uprava (Processing Rozhlas a elektroakustickd Hudebni rozhledy:Czech dio that engaged in both research and construction Recordings), slovenskd of electroacoustic instruments. For a short time, hudba (The Radio and Slovakian Electroacoustic Hudebni veda: Czech electroacoustic music was also realized at this studio. Music) (Bratislava: Metodicko-vyskumny kabinet ceskoslovenskeho rozhlasu, 1989) p. 188. Hudobnyzivot: Slovakian 12. Interview with C. Kadlec, 2July 1993. 40. Interview with J. Malovec, 10Jutly 1993. Opus musicum:Czech 13. tLubomir Krch, "Studio pro elektroakustickou 41. Dr. Milan booklet hudbu pfi ceskoslovenskem rozhlase v Plzni" (Stu- Adamciak, notes, Rozhlasovaa televiznitechnika: Czech dio for Electroacoustic Music at the Czechoslova- Elektroakusticki hudba, twenty-fifth anniversary of electroacoustic Slovenskahudba: Slovakian kian Radio Broadcast Station in Plzefi), unpub- double compact-disc recording lished term (28 1979) 15. music realized at the Experimental Studio. paper April p. For clarity, I have used the official names of all stu- dios in the other names are 14. M. Blaha and M. Mandik, "I. seminfa 42. This figure is taken from a list of compositions following, although realized at the Studio in Bratislava sometimes used in the documents themselves. elektronicke hudby v CSSR" (First Seminar of Elec- Experimental tronic Music in Czechoslovakia), Rozhlasovaa televizni given to me byJuraj Duris in 1993. Blaha, Milos. "Smolenicke seminare pro soucasnou technika5, No. 4 (1964) 91. Rozhlasovaa televizni p. 43. Interview with Duris, 9 1993. hudbu" (Smolenice's Seminars for technika T) was VURT's official J. July Contemporary (R7 publication. Music), Rozhlasovda televiznitechnika 9, No. 2, 70-71 44. G.M. Koenig, personal correspondence, 19 No- (1968). A review of the first International Seminar 15. Blaha and Mandik [14] pp. 92-98. A. Spelda vember 1994. on New Music in Smolenice, held from 1-5 was one of the most important acousticians of his April His contribution to these in the es- 1968. day. early years 45. As is the case with many sound studios, AMU's tablishment of Czechoslovakian electroacoustic Audio Studio actually consists of several studios. Bokuvkova, Vlasta. "O elektronickem studiu v music was invoked by interviewees. repeatedly Plzni" (About the Electronic Studio in Plzefi), Opus 46. Interview with Pavel Pitrak, of the manager musicum4, No. 6, 161-169 (1972). A superb article 16. Interview with M. Mandik, 27June 1994. Sound and at Barrandov, 15 Editing Department detailing the studio's history. July 1994. 17. A complete list of the instruments used in the Candra, Zdefiek; Lebl, Vladimir; Vilem; First Seminar appears in Blaha and Mandik [14] p. 47. M. "II. seminfa elektronicke v Pospifil, Meninger, hudby and Ivan. "Round Table: K situaci sotdobe 90. CSSR" (Second Seminar of Electronic Music in Vojtech, Ceske tvorby"(Round Table: About the Situation of Czechoslovakia), Rozhlasovfa televiznitechnika 6, No. 18. For a list of the instruments VUIRTprovided, Contemporary Czechoslovakian Creations), 4 (1965) p. 126. An account of the second seminar see Blaha and Mandik [14] p. 98. Hudebni rozhledy23, No. 5, 217-221 (1970). held at Prague's Radio Broadcast Station in Karlin, a suburb of from 1965. 19. C.. Kadlec, "Skladby realizovane ve studiu pro Prague, 14-16June Chong, John. Computerand ElectronicMusic in Eu- hudbtu s Plzni" Re- rope-1973. (National Research Council Canada: experimentalni (Compositions 48. Odstrcil [30]. alized at the Studio for in Radio and Electrical Engineering Division, 1974). index of real- A of the Studios in Plzen Plzefi), unpublished compositions 49. Interview with J.Jirasek, 6 August 1993. description Experimental ized at the Experimental Studio in Plzei. and Bratislava is included. 50. Berger [1]. 20. "Skladby realizovane ve studiu pro exper- Davies, Hugh, comp. RepertoireInternational des imentalni hudbu v Plzni" [19]. 51. Vitlazoslav Kubicka, personal communication, Musiques Electroacoustiques/InternationalElectronic 24January 1994. Music Catalog(Cambridge, MA: MIT Press, 1968). 21. Interview with E. Spacil, 1 July 1993. 52. Interview with D. Forro, 16July 1994. Deset let prdce Laboratorepocitacich stroju [LPS] VUT 22. Kadlec [12]. [Vysokeuceni technicke] (Ten Years of Work at the 53. Jaromir Navrat, personal correspondence, 3 Laboratory at VUT) (Brno: LPS, 1972). 23. Kadlec [12]. September 1994. This program is absolutely in its (In Czech.) A collection of technical essays about 24. Rfilicka [4]. infancy. the various applications of LPS . Includes Jiri Kopfiva, "Samocinny pocitac jako pomocnik 54. Mezinarodni hudebnifestival VI of 25. Jiri Hanousek, "Vyroba Brnenskeho elek- (Exposition skladatele experimentalni hudby" (The Computer Experimental Mtsic VI), Brno; notes. tronickeho sttdia cs. rozhlasu v Brn6, 1964-1970" program as Helper to the Composer of Experimental Music) of Brno's Electronic Studio at the Czecho- and Rudolf "Samocinne a (Output 55. I compiled this list with R. Ruzicka's assistance. Riuicka, pocitace slovakian Radio Broadcast Station in Brno, 1964- soucasne smery v hudbe" ( and Current 1970). Unpublished index of BES's compositions. 56. This data is compiled from "Experimental Stu- Directions in Music). dio: Radio Bratislava"[38] and a list of instruments 26. Jifi Hanousek, "Technicka vystroj Brnenskeho that Zmecek wrote down for me in 1993. Dobrovska, Wanda. "Prekracovsani poznanych elektronickeho studia cs. rozhlasu" (Technical rozmeru" (Crossing over Familiar Measures), Equipment of Brno's Electronic Studio at the 57. List compiled from M. Blaha, "Studio Hudebni rozhledy43, No. 10, 445-447 (1990). An in- Czechoslovakian Radio Broadcast Station). Unpub- elektronicke hudby Vyzkumneho ustavu rozhlasu terview with Karel Odstrcil, co-chairman of SEAH lished index of instruments. a televize" (Studio of Electronic Music in the Re- in the Czech Republic, about electroacoustic music and the Society.

46 Zajicek, The History of Electroacoustic Music in the Czech and Slovak Republics Eben, Michal. "Hudebni syntezator ANTARES 2" ties of Western European Music) (Praha: Statni (In German.) Documents the history of the new (The ANTARES 2 Music Synthesizer), Rozhlasovda hudebni vydavatelstvi, 1962). (In Czech.) Devotes a generation of composers over the last 30 years in televizni technika26, No. 2, 48-54 (1981). Detailed chapter to thorough discussion of various schools Slovakia. technical description of the second-generation syn- of electroacoustic music. thesizer built at VURT. Malovec, Jozef. "II. fonosyntetick6 pracovisko v Kolman, Peter. "Elektronicka hudba Jozefa Bratislave" (Second Phonosynthetic Studio in Faltin, Peter. "New Music in Slovakia,"Jozef Simo, Malovca" (Electronic Music ofJozef Malovec), Bratislava), Slovenskd hudba 9, No. 4, 188-189 ., Slovenskdhudba 7, No. 9, 341-347 (1967). (In Slovenskdhudba 13, Nos. 6-7, 247-248 (1969). A de- (1965). A new phonosynthetic room (i.e. the Ex- English.) scription of three of Malovec's electroacoustic com- perimental Studio) at the Radio Broadcast Station positions: Orthogenesis,Tmel, and PunctumAlfa. in Bratislava, constructed for the purposes of creat- Zdefiek. "Pocitac hudebni Fend, jako nastroj" ing experimental music and background sound for as a Musical Hudebni "Elektronische Musik in (The Computer Instrument), Kolman, Peter, Bratislava," Horspiele, is discussed. veda 5, No. 1, 101-116 (1968). A technical article. (Electronic Music in Bratislava),Otto Kausitz, trans., Slovenskdhudba 11, No. 8, 348-351 (1967). (In Ger- Malovec, Jozef. "Hudba, elektronika, sucasnost" I. hudobne a Florian, "Experimentalne nastroje nian.) Important documentation of the history of (Music, Electronics, the Present), Slovenskdhudba moderna technika" Musical Instru- (Experimental electroacoustic music at Bratislava'sTV studios. 12, No. 3, 97-100 (1968). The presence of electron- ments and Modern Slovenskdhudba 6 Technology), ics in music is analyzed. (1962) pp. 41-44. A historical survey of the use of Kolman, Peter. "Experimentalne Studio cs. technology/electronics in music. rozhlasu v Bratislave" (Experimental Studio of the Matejcek,Jan. Music in Czechoslovakia,Jean Layton- Czechoslovakian Radio Broadcast Station in Eislerova, trans. (Prague: Czech Music Fund, 1967). Fsldvariova, Nada. "Smolenice po treti raz" Bratislava), Slovenskdhudba 13, Nos. 6-7, 238-239 (Smolenice for the Third Time), Slovensk(ihudba (1969). Matejcek, Jan. "Poznamky o elektronicke a 14, Nos. 5-6, 168-171 (1970). konkretni hudbe" (Notes about Electronic Music Kresanek, Jozef and Donovalova, Viera, eds. K and Musiqtue Concrete), Hudebni rozhledy8 (1955) Foldvariova, Nada. "Smiitok slusi recesii (Grief problematikesuiasnej hudby(About Problems of Con- pp. 294-295. Suits hudba Nos. 240- Recession), Slovenskan 13, 6-7, temporary Music), (Bratislava: Vydavatelstvo 245 An of the sec- Ivo. "Podeirele (1969). (In Slovakian.) account slovenskej akademie vied, 1963). (In Slovakian.) A Medek, noty Aloise Pifiose" (Suspi- ond seminar in Smolenice in 1969. cious Notes of Alois musicum No. superb and important collection of articles. A chap- Pinos), Opus 22, 7, ter written Richard documents the his- 19-24 (1990). A review of the compositional output (odanyova, Milada. "Ein Mozaik aus dem by Rybarii tory of electroacoustic music. of Alois Pinios. Elektroakustischen Studio" (A Mosaic of the Elec- troacoustic SlowtakischeMusik No. 4 Milan. "Elektronicka hudba" Studio), (1989) Lebl, Vladimir. "Brno experimentujici" (Experi- Meninger, (Electronic 8-12. the of pp. (In German.) Documents history mental Brno), Hudebni rozhledy23, No. 4, 193-194 Music), Rozhlasovaa televiznitechnika 5, No. 3, 57-58 the studio in and some of the An introduction to electronic an Bratislava, profiles (1970). Report of the second Exposition of Experi- (1964). music, composers and their electroacoustic compositions. mental Music in Brno, held from 31 March to 4 evaluation of the gap between its status worldwide 1970. and in Czechoslovakia, and an account of efforts to Detlef. im Kollektiv. Zur April Gojowy, "Komponieren close this gap. Arbeit des Briinner Komponistenteams" (Compos- Lebl, Vladimir. "Brno Sedesatych let" (Brno in the as a Collective: About the Work of Com- Milan. ing Brno's 1960s), Opus musicum 22, No. 6, 161-167 (1990). Meninger, "Komise pro elektronickou Musik und No. 302-303 poser Team), Bildung 3, 6, An important musical history of Brno of the 1960s. hudbu" (Commission for Electronic Music), (June 1971). (In German.) Rozhlasovda televiznitechnika 6, No. 4 (1965) p. 128. Lebl, Vladimir. Elektronickahudba (Electronic Mu- An account of the formation of the Commission for IFIMVl'92. Medzindrodnde hudby forum elektroaklstickej sic) (Prague: Statni hudebni vydavatelstvi, 1966). Electronic Music-originally known as the Cyber- (IFEM '92. International Forum of Electroacoustic (In Czech.) The most important early Czechoslova- netic Commission-in January 1963. festival Centrum Music), proceedings. (Bratislava: kian documentation of electroacoustic music pro- elektroakustickfi a Milan. "Technicke pre computerovti htdbu, 1993). duction. The history of the development of elec- Meninger, problemy elektronicke (In Slovakian and The fact that the festi- Problems of English.) troacoustic music is presented, and techniques of hudby" (Technical Electronic Music), val demonstrates Rozhlasovaa televizni published proceedings varying styles are analyzed and discussed. technika5, No. 2, 35-40 (1964). Bratislava's serious involvement in electroacoustic A discussion of the use of electronic Supraphon also released an accompanying record special audio muisic. effects in order to influence sound (DV 6221) under the same title, including domestic modulation. and international electroacoustic recordings. Janik, Ladislav. "Prostor a reprodukce zvuku" Merhaut, Josef, ed. Prirucka elektroakustiky(Hand- and the of book of (Space Reproduction Sound), Lebl, Vladimir. "Nastin typologie zvukoveho Electroacoustics) (Prague: Statni Rozhlasovaa televizantechnika 5, No. 3, 58-63 (1964). materialu" (Outline of Characteristics of Sound nakladatelstvi technicke literatury, 1964). (In Paper presented at the First Seminar of Electronic Material), Hudebniveda 6, No. 3, 260-280 (1969). Czech.) A collection of technical articles. Music in Plzen. Ladislav. Slovenskd Lebl, Vladimir. "Nektere komunikaini problemy Mokry, kultira 1945-1965 Milos. "Smolenice 69" Juzl, (Smolenice '69), elektronicke hudby" (Some Communicational (Slovakian Culture: 1945-1965) (Bratislava:Obzor, Hudebni rozhledy22, No. 9, 257-259 (1969). Problems of Electronic Music), Hudebni veda 7, No. 1965). (In Slovakian.) Mentions the activities of the 4, 267-277 (1970). Audio Studio at the Television Station in Bratislava. Kadtch, Miroslav, comp. Ceska a slovenskd elektroakustickd hudba 1964-1994 (Czech and Lebl, Vladimir. "O hudbe budoucnosti a Motte-Haber, Helga de la. "Internationale Sem- Slovakian Electroacoustic inare Music 1964-1994). budoucnosti hudby" (About the Musical Future fir in Smolenice" (International A of individuals for New (Ostrava:Jupos, 1994). dictionary and the Future of Music), Hudebni rozhledy11, No. Seminars Music in Smolenice), Die involved in all of Czechoslovakian electroa- aspects 10, 696-700 (1958). Argues for an embrace of new Musikforschung22, No. 2, 215-216 (1969). (In Ger- coustic music. of the of technology in music and documents the history man.) Summary activities the second In- and some of electronic music. ternational Seminar on New Music in Smolenice, Kadtuch, Miroslav. "Hudba a and techniques pocitac" (Music ranging from discussion of aesthetics and tech- the Hudebnirozhledy 34, No. 9 Computer), (1981) p. Lebl, Vladimir. "Zivotopis Miloslava Kabelace" (Bi- niques to the analysis of contemporary acoustical 409. ography of Miloslav Kabelac), Hudebniveda 25, No. and electroacoustical compositions. 1, 8-63 Miroslav. Soudobahudebni tvorbas (1988). Kadtch, vyuiitim "Nova hudba v Plzni" (New Music in Plzefi), Music Creation with the pocitaii (Contemporary Lebl, Vladimir, and Blaha, Milos. "Zvukova CeskoSlovenskyrozhlas 37, No. 9 (1970) p. 20. A brief Use of the Mestske Computer) (Ostrava: kulturni laborator ustavu pro hudebni vedu CSAV article about the activities at the Experimental Stu- stiedisko, 1989). (In Czech.) A historical look at [Ceskoslovenska akademie ved]-Zakladni dio in Plzen. computter niisic. informace" (Sound Laboratory at the Institute for Nove Musical Science, CSAV [Czechoslovakian Academy cesty hudby (New Paths of Music) (Prague: Kasan, Jaroslav. "Elektronische Mtisik in der CSSR" of Information), Hudebni Statni hudebni vydavatelstvi, 1964). (In Czech.) A (Electronic Music in the CSSR), Musik und Science]-Elementary veda No. 80-85 Outlines the very important book, consisting of 12 essays on 15 124-126. A 8, 1, (1971). Gesellschaft (1965) pp. (In German.) main varying subjects in contemporary and electroacous- the First Seminar of Electronic Music laboratory's functions, positing scientific/ report about of music as the means toward tic music. held at the Radio Broadcast Station in Plzei in technological analysis a new method of musicological research. 1964. Nove cestyhudby, sv. 2 (New Paths of Music, Vol. 2) Lohlein, Heinz-Harald. "Musik und Vorlesungen (Prague/Bratislava: Statni hudebni vydavatelstvi, Kohoutek, Ctirad. Novodobeskladebne smery v hudbe im Slowakischen Smolenice." (Music and Lectures 1970). (In Czech.) (Modern Compositional Directions in Music) in the Slovakian Smolenice), Melos36, No. 6, 269- Statni hudebni 1965). Karel. "Z historie elektroakusticke (Praha: vydavatelstvi, (In 271 A of the Odstrcil, hudby" (June 1969). (In German.) description the of Electroacoustic Bib- Czech.) second seminar in Smolenice. (About History Music). liographic information unavailable. Kohoutek, Ctirad. Novodobe skladebne teorie Malovcova, Helena. "Vor DreissigJahren" (Thirty zdpadoevropskehudby (Modern Compositional Theo- Pandula, Dusan. "Zur Musikalischen einer Years Ago), SlowakischeMusik, No. 4 (1989) pp. 1-7. Lage

Zajicek, The History of Electroacoustic Music in the Czech and Slovak Republics 47 Nation. Die CSSR nach 1968" (About the Musical Skala, Pavel. "Elektronickekonfrontace" (Electronic nality and their Irony in Current Music), Opus Situation of a Nation: The CSSR after 1968), Das Confrontations), Hudebni rozhledy22, No. 21, 641- musicum 3, No. 2, 49-54 (1971). Orchester26,No. 10, 757-759 (1978). (In German.) 645 (1969). Interview/discussion with Lebl, Herzog Vaclav. and Kabelaf evaluating the domestic electroacoustic Syrovy, Technickezaklady elektroakusticke hudby "Skladatel' v Fundamentals of Patkowski, Jo6ef. experimentalnom situation in comparison to the one at Utrecht Uni- (Technical Electroacoustic Music) studiu" in the Stu- Statni (The Composer Experimental versity, following the conclusion of a seminar con- (Prague: pedagogicke nakladatelstvi, 1990). Peter Faltin, trans., Slovenskdhudba No. Class notes written for in the dio), 8, 4, ducted by Koenig, Weiland and Tempelaars (from specifically students 108-110 instituted (1964). Utrecht) in Prague, 22-26 September 1969. newly electroacoustic program at AMU. Pensdorfova, Eva. "Pfedzvest nebo doznivani?" "Hudebni VURT" Slavicky, Milan. "Inovafni impulsy v ceske hudbe Vitek, Jaromir. syntezatory or Hudebni 17, No. Musical Rozhlasova a (Presage Resonance?), rozhledy uplynuleho ctvrtstoleti" (Innovative Impulses in (VURT's Synthesizers), 11, 454-456 (1964). An overall look at elec- televiznitechnika Nos. 111-113 A list early Czech Music of the Past 25 Years), Hudebni rozhledy 24, 3-4, (1979). troacoustic music and the new involvement of 43, No. 1, 39-42 (1990). A well-documented histori- and description of all the electronic musical instru- Czech and Slovakian composers in it, via a sum- cal account. ments that were built at the Electronic Studio at mary of the First Seminar of Electronic Music in VURT. Plien. Slavicky, Milan. "Krckova Nevestka Raab" (Krck's Vitek, Jaromir, trans. "Subharchord: Novy Nevesta Raab), Hudebni rozhledy25, No. 4, 168-169 typ Pensdorfova, Eva. "Smolenice 70" (Smolenice '70), elektronickych zvuku" (1972). A review of Krck's electroacoustic opera. generatoru (Subharchord: Hudebni rozhledy23, No. 6, 241-242 (1970). A New Type of Generator of Electronic Sounds), Solovic, Jan, et al., eds. Tu Bratislava . . . Rozhlas v Rozhlasovaa televiznitechnika 6, No. 2, 62-63 (1965). Poledfiak, Ivan. "Elektronicka a konkretni hudba" Retrospektivea Perspektive(This is Bratislava... The Description and technical review of the instrument. (Electronic Music and Musique Concrete), Veda a Radio in Retrospective and Perspective) (Bratislava: zivotNo. 7 (1958) p. 425. (In Czech.) Vitek, Jaromir, and Miroslav. "Zvokovy Obzor, 1966). (In Slovakian.) The comprehensive Kasper, syntezator 'CISLIZVUK"'("Digital Sound" Sound Oldfich. "Elektroakusticka hudba vcera a history of the Radio Broadcast Station in Bratislava. Pukl, Synthesizer), Rozhlasovaa televiznitechnika 24, No. 1, dnes. II. cast" (Electroacoustic Music of Yesterday 1-7 A of the function Spelda, Anton. "Plzeiske studio pre elektronicku (1979). description and use and Today, Part 2), TvorbaNo. 34 (1988) p. 14. (In of a hudbu, jeho vyvoj a siuasny stav" (The Electronic newly developed built at the Czech.) Brief and concise historical documentation. Electronic Studio at VURT. Music Studio in Plzefi, Its Development and Cur- rent State), Slovenskd hudba 13, No. 8, 305-308 Pulkert, Oldfich. "Hudba, samocinne pocitace a Vseteckova, Nina. "Czech Electroacoustic Music in and other Innova- (1969). jine novinky" (Music, Computers Retrospect," Music News from Prague Nos. 1-2 tions), Hudebniveda4, No. 3, 479-482 (1967). A historical Stadtrucker, Ivan. "Historia jedneho zvukoveho (1992). short, yet very good summary of Czech electroacoustic music on the eve of Rozhlasa slovenskdelektroakusticka hudba Radio pracoviska" (History of a Sound Studio), Slovenskc history (The the of the of the and Slovakian Electroacoustic hudba 13, Nos. 9-10, 342-349 (1969). A superb, de- twenty-fifth anniversary opening Music) (Bratislava: Studio in Plzeii. Metodicko-vyskumny kabinet ceskoslovenskeho tailed and candid history of the Audio Studio at the Experimental A and im- television station in Bratislava. rozhlasu, 1989). (In Slovakian.) superb Vyslouzil, Jii. "Ceska hudba 1945-1975" (Czech portant book containing eight essays about various Music musicum Nos. 66-78 Stastny, Jaroslav. "A co kdyz nepujde elektrika?" 1945-1975). Opus 7, 3-4, aspects of the Experimental Studio at the Radio (1975). A well-documented article on the (And What if There Will Be No Electricity?) Na stylistic Broadcast Station in Bratislava, its history, and the of Czech and Slovakian music that Hudbu 1, No. 3, 2-4 (1990). (In Czech.) Contem- history contains, music created there. however, no discussion of electroacoustic music. plations by the composer-alias Peter Graham- Sbornikprednasek o problemechelektronicke hudby I-II about the state of electroacoustic music and his (Collection of Presentations about Problems of own compositions. Electroacoustic Music, Vols. 1-2) (Prague/ Discography Stedroii, Milos. "Nova hudba: umeni podnikat" Bratislava: Panton, 1964). (In Czech.) Transcrip- Although most studios, to this day, have not been (New Music: The Know-how of the Business), tions of four lectures read at the First Seminar of Opus successful in producing an anthological CD of their musicum1, No. 1, 11-13 (1969). A history of Brno's Electronic Music held in Plzefi from 3-7 May 1964. output, the Experimental Studio at Bratislava has contribution to the avant-garde and a review of the Volume 1 contains Ladislav Janik, "Prostor a had the resources to produce two. In addition to "Expozici experimentalni hudby" (Exposition of reprodukce zvuku" (Space and the Reproduction the twenty-fifth anniversary double CD mentioned Experimental Music) held in Brno in 1969. of Sound) and Vladimir Lebl, "Zpusoby zapisu above [60], the staff has recently released a follow- elektronicke a konkretni (Methods of No- entitled Elektroakustickd Slovensko hudby" Stedroi, Milos. "V Brne cs. elektronicka skladba" up hudba, 1989- tating Electronic and Concrete Music). Volume 2 94. As the title indicates, this CD is a (Czechoslovakian Electronic Composition in single compi- includes Milan Meninger, "Vznik a zpracovani lation of realized at the Brno), Mladafronta No. 138 (21 May 1966) p. 5. compositions Experimental elektronicke hudby" (Origins and Creation of Elec- Studio in recent years. In addition, personal re- tronic Miloslav "Skladatel ve Music), Kabelac, Stedrofi, Milos. "Zde se vyrabi elektronicka a leases are slowly emerging. One that I am aware of zvukove laboratori" in the Sound (The Composer konkretni hudba" (Where Electronic Music and is Vlastislav Matousek's Shapesof Silence,which was and an additional read at Laboratory) paper-also Musique Concrete Are Created), Hudebni rozhledy recorded at AMU and produced by Awika in Swit- the seminar and included in these volumes for its 20, No. 17, 420-421 (1967). An important article zerland. Sampling the sounds of Tibetan bowls and of Antonin explanation acoustics-by Spelda, about the history of BES at the Radio Broadcast Sta- other percussion instruments, Matousek creates a "Nekolik kapitol z akustiky" (Several Chapters from tion in Brno. minimalist aesthetic. He refers to this work as "tran- Acoustics). Includes important documentation that scendental music for silent meditation." provides insight into the origins of this music in the Stedrofi, Milos, and Piios, Alois. "Prvkybanality a Czech and Slovak Republics. jejich ironizace v soudobe hudbe" (Elements of Ba-

48 Zajicek, The History of Electroacoustic Music in the Czech and Slovak Republics