Recordings by Electric Phoenix
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Gardner • Even Orpheus Needs a Synthi Edit No Proof
James Gardner Even Orpheus Needs a Synthi Since his return to active service a few years ago1, Peter Zinovieff has appeared quite frequently in interviews in the mainstream press and online outlets2 talking not only about his recent sonic art projects but also about the work he did in the 1960s and 70s at his own pioneering computer electronic music studio in Putney. And no such interview would be complete without referring to EMS, the synthesiser company he co-founded in 1969, or namechecking the many rock celebrities who used its products, such as the VCS3 and Synthi AKS synthesisers. Before this Indian summer (he is now 82) there had been a gap of some 30 years in his compositional activity since the demise of his studio. I say ‘compositional’ activity, but in the 60s and 70s he saw himself as more animateur than composer and it is perhaps in that capacity that his unique contribution to British electronic music during those two decades is best understood. In this article I will discuss just some of the work that was done at Zinovieff’s studio during its relatively brief existence and consider two recent contributions to the documentation and contextualization of that work: Tom Hall’s chapter3 on Harrison Birtwistle’s electronic music collaborations with Zinovieff; and the double CD Electronic Calendar: The EMS Tapes,4 which presents a substantial sampling of the studio’s output between 1966 and 1979. Electronic Calendar, a handsome package to be sure, consists of two CDs and a lavishly-illustrated booklet with lengthy texts. -
Teaching Electronic Music – Journeys Through a Changing Landscape
Revista Vórtex | Vortex Music Journal | ISSN 2317–9937 | http://vortex.unespar.edu.br/ D.O.I.: https://doi.org/10.33871/23179937.2020.8.1.12 Teaching electronic music – journeys through a changing landscape Simon Emmerson De Montfort University | United Kingdom Abstract: In this essay, electronic music composer Simon Emmerson examines the development of electronic music in the UK through his own experience as composer and teacher. Based on his lifetime experiences, Emmerson talks about the changing landscape of teaching electronic music composition: ‘learning by doing’ as a fundamental approach for a composer to find their own expressive voice; the importance of past technologies, such as analogue equipment and synthesizers; the current tendencies of what he calls the ‘age of the home studio’; the awareness of sonic perception, as opposed to the danger of visual distraction; questions of terminology in electronic music and the shift to the digital domain in studios; among other things. [note by editor]. Keywords: electronic music in UK, contemporary music, teaching composition today. Received on: 29/02/2020. Approved on: 05/03/2020. Available online on: 09/03/2020. Editor: Felipe de Almeida Ribeiro. EMMERSON, Simon. Teaching electronic music – journeys throuGh a chanGinG landscape. Revista Vórtex, Curitiba, v.8, n.1, p. 1-8, 2020. arly learning. The remark of Arnold Schoenberg (in the 1911 Preface to his Theory of Harmony) – “This book I have learned from my pupils” – is true for me, too. Teaching is E learning – without my students I would not keep up nearly so well with important changes in approaches to music making, and it would be more difficult to develop new ideas and skills. -
This Electronic Thesis Or Dissertation Has Been Downloaded from Explore Bristol Research
This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: Vagopoulou, Evaggelia Title: Cultural tradition and contemporary thought in Iannis Xenakis's vocal works General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License. A copy of this may be found at https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode This license sets out your rights and the restrictions that apply to your access to the thesis so it is important you read this before proceeding. Take down policy Some pages of this thesis may have been removed for copyright restrictions prior to having it been deposited in Explore Bristol Research. However, if you have discovered material within the thesis that you consider to be unlawful e.g. breaches of copyright (either yours or that of a third party) or any other law, including but not limited to those relating to patent, trademark, confidentiality, data protection, obscenity, defamation, libel, then please contact [email protected] and include the following information in your message: •Your contact details •Bibliographic details for the item, including a URL •An outline nature of the complaint Your claim will be investigated and, where appropriate, the item in question will be removed from public view as soon as possible. Cultural Tradition and Contemporary Thought in lannis Xenakis's Vocal Works Volume I: Thesis Text Evaggelia Vagopoulou A dissertation submitted to the University of Bristol in accordancewith the degree requirements of the of Doctor of Philosophy in the Faculty of Arts, Music Department. -
A More Attractive ‘Way of Getting Things Done’ Freedom, Collaboration and Compositional Paradox in British Improvised and Experimental Music 1965-75
A more attractive ‘way of getting things done’ freedom, collaboration and compositional paradox in British improvised and experimental music 1965-75 Simon H. Fell A thesis submitted to the University of Huddersfield in fulfilment of the requirements for the degree of Doctor of Philosophy The University of Huddersfield September 2017 copyright statement i. The author of this thesis (including any appendices and/or schedules to this thesis) owns any copyright in it (the “Copyright”) and he has given The University of Huddersfield the right to use such Copyright for any administrative, promotional, educational and/or teaching purposes. ii. Copies of this thesis, either in full or in extracts, may be made only in accordance with the regulations of the University Library. Details of these regulations may be obtained from the Librarian. This page must form part of any such copies made. iii. The ownership of any patents, designs, trade marks and any and all other intellectual property rights except for the Copyright (the “Intellectual Property Rights”) and any reproductions of copyright works, for example graphs and tables (“Reproductions”), which may be described in this thesis, may not be owned by the author and may be owned by third parties. Such Intellectual Property Rights and Reproductions cannot and must not be made available for use without the prior written permission of the owner(s) of the relevant Intellectual Property Rights and/or Reproductions. 2 abstract This thesis examines the activity of the British musicians developing a practice of freely improvised music in the mid- to late-1960s, in conjunction with that of a group of British composers and performers contemporaneously exploring experimental possibilities within composed music; it investigates how these practices overlapped and interpenetrated for a period. -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Performing Percussion in an Electronic World: An Exploration of Electroacoustic Music with a Focus on Stockhausen's Mikrophonie I and Saariaho's Six Japanese Gardens Permalink https://escholarship.org/uc/item/9b10838z Author Keelaghan, Nikolaus Adrian Publication Date 2016 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Performing Percussion in an Electronic World: An Exploration of Electroacoustic Music with a Focus on Stockhausen‘s Mikrophonie I and Saariaho‘s Six Japanese Gardens A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Musical Arts by Nikolaus Adrian Keelaghan 2016 © Copyright by Nikolaus Adrian Keelaghan 2016 ABSTRACT OF THE DISSERTATION Performing Percussion in an Electronic World: An Exploration of Electroacoustic Music with a Focus on Stockhausen‘s Mikrophonie I and Saariaho‘s Six Japanese Gardens by Nikolaus Adrian Keelaghan Doctor of Musical Arts University of California, Los Angeles, 2016 Professor Robert Winter, Chair The origins of electroacoustic music are rooted in a long-standing tradition of non-human music making, dating back centuries to the inventions of automaton creators. The technological boom during and following the Second World War provided composers with a new wave of electronic devices that put a wealth of new, truly twentieth-century sounds at their disposal. Percussionists, by virtue of their longstanding relationship to new sounds and their ability to decipher complex parts for a bewildering variety of instruments, have been a favored recipient of what has become known as electroacoustic music. -
A Simple Ring-Modulator
A Simple Ring-modulator Hugh Davies MUSICS No.6 February/March 1976 I have lost count of the number of times that I have been asked to write down the basic circuit for a ring-modulator since building my first one early in 1968, when someone else suggested components for the circuit that I had found in two books. Up to now, I have constructed about a dozen ring-modulators, four of which were for my own use (two built in a single box for concerts, one permanently installed with my equipment at home, and one inside a footpedal with a controlling oscillator also included). So it seems to be helpful to make this information more available. The ring modulator (hereafter referred to as RM) was originally developed for telephony applications, at least as early as the 1930s (its history has been very hard to trace), in which field it has subsequently been superseded by other devices. A slightly different form – switching type as opposed to multiplier type – occurs in industrial control applications, such as with servo motors. The RM is closely related to other electronic modulators, such as those for frequency and amplitude modulation (two methods of radio transmission, FM and AM, but now equally well known to musicians in voltage-controlled electronic music synthesizers). Other such devices include phase modulators/phase shifters and pulse-code modulators. All modulators require two inputs, which are generally known as the programme (a complex signal) and the carrier or control signal (a simple signal). In FM and AM broadcasting, for example, the radio programme is modulated (encoded) for transmission by means of a hypersonic carrier wave, and demodulated (decoded) in the receiver. -
Nicola Candlish Phd 2012
Durham E-Theses The Development of Resources for Electronic Music in the UK, with Particular Reference to the bids to establish a National Studio CANDLISH, NICOLA,ANNE How to cite: CANDLISH, NICOLA,ANNE (2012) The Development of Resources for Electronic Music in the UK, with Particular Reference to the bids to establish a National Studio, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/3915/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 ‘The Development of Resources for Electronic Music in the UK, with Particular Reference to the bids to establish a National Studio’ Nicola Anne Candlish Doctor of Philosophy Music Department Durham University 2012 Nicola Anne Candlish ‘The Development of Resources for Electronic Music in the UK, with Particular Reference to the Bids to Establish a National Studio’ This thesis traces the history and development of the facilities for electronic music in the UK. -
Contact: a Journal for Contemporary Music (1971-1988) Citation
Contact: A Journal for Contemporary Music (1971-1988) http://contactjournal.gold.ac.uk Citation Souster, Tim. 1977. ‘Intermodulation: A Short History’. Contact, 17. pp. 3-6. ISSN 0308-5066. ! [!] TIM SOUSTER 17 Intermodulation: A Short History ON THE EVENING of Saturday July 26, 1969, in a plastic geodesic dome on Tower Hill, a concert was given by four players who were subsequently to become the initial members of the live-electronics group Intermodulation: Andrew Powell (guitars, keyboards), Roger Smalley (keyboards, electronics), Tim Souster (viola, keyboards, electronics) and Robin Thompson (soprano sax, bassoon, keyboards and guitar). ( Andrew Powell was succeeded in 1970 by Peter Britton (percussion, electronics, key boards).) The concert was characterised by the rough and ready technology typical of electronic ventures at that time. Borrowed amplifiers failed to assert themselves. The dial of an ex-army sine-tone oscillator was nimbly controlled by Robin Thompson with his foot. A Hugh Davies-built ring-modulator nestled in its cardboard box on the floor. The 'visuals' (in the original version of my Triple Music I, written specially for this concert) consisted of coloured slides of food, footballers and political events, most of which failed to appear or did so upside-down. The whole occasion was dominated by a PA system lent and personally installed by Pete Townshend of The Who, who could be glimpsed lowering behind the loudspeaker columns throughout the show. Those lucky enough to be connected to this (for those days) mighty array of WEM equipment were able to play very loud indeed: I can remember little else. TECHNICAL PRE-CONDITIONS In 1968 Roger Smalley became composer-in-residence at King's College, Cambridge; I followed suit in 1969. -
Displayfulltext1.Pdf
Tempo 63 (250) 63–76 © 2009 Cambridge University Press 63 doi:10.1017/S0040298209000369 Printed in the United Kingdom book reviews Short Circuit fork along with the subject voice in an early form The Cambridge Companion to Electronic Music edited by Nick of SMPTE timecoding. By adjusting the wave- Collins and Julio d’Escriván. Cambridge University Press, form transfer so that the tuning fork trace was £48.00 (hardback), £17.99 (paperback). perfectly regular, it was possible to eliminate any distortion from the reproduced voice recording. Among the more historically interesting musi- In retrospect, the choice of lyric comes across as cal events of 2008 were the recovery of the earli- a mysterious premonition of Debussy’s atmos- est surviving recorded item of British computer pheric Claire de Lune for piano, even hinting at the music; the resynthesis in California of one of the dark otherworld of Schoenberg’s Pierrot Lunaire, earliest known voice recordings from a phonauto- a setting of poems by another Belgian, symbolist graph wave trace originally made by the Belgian poet Albert Giraud, and deliberately staged in the Léon Scott in 1860; and the Scottish première of oracular style of a cylinder recorded séance. Jonathan Harvey’s Speakings, a BBC Prom com- Performed by a University of Manchester mission for 11 electronically voice-modulated Small-Scale Experimental Machine (a Ferranti solo instruments and orchestra. The most poign- Mark I) to a software program designed by ant perhaps is the Scott recording. From a high- Christopher Strachey, -
DEGEM – Mitteilungen 15
Mitteilungen_15 / revidiert 2013 Deutsche Gesellschaft für Elektroakustische Musik Mitteilungen_15 2.12.1994 * Auflage: 290 Die Mitteilungen erscheinen vierteljährlich jeweils Anfang März, Juni, September, Dezember. Redaktionsschluß dieser Ausgabe: 29.11.1994 Bankverbindung DegeM (Deutsche Gesellschaft für Elektroakustische Musik) Jahresbeitrag für Institutionen 200.- DM Dresdner Bank Berlin BLZ 100 800 00 Jahresabonement der Mitteilungen 20.- DM Konto-Nr. 05 141 941 00 Jahresbeitrag für Personen 50.- DM Adresse der DegeM: Deutsche Gesellschaft für Telefon: (+49) 30 - 218 59 60 Elektroakustische Musik e.V. 314 22327 Treuchtlinger Str. 8 FAX: (+49) 30 - 213 98 16 D - 10779 Berlin Email: [email protected] Inhaltsverzeichnis Vorwort des Herausgebers. ............................................................................................ 2 Zeitschriften / Bücher .................................................................................................... 3 Compact Disk´s .............................................................................................................. 4 Informationen (Wettbewerbe, Ars Sonora, IEEE, ICMA, WFAE, EMF, CNMAT) .............. 5 ISEA 95 Montreal 1995 ................................................................................................ 7 Neues vom DegeM-Archiv (Thomas Gerwin) .............................................................. 9 ICMC Århus 1994 (André Ruschkowski) .................................................................... 10 25. Festival de Inverno -
English Music”: Contributors’ Notes
LMJ 11 CD COMPANION Not Necessarily “English Music”: Contributors’ Notes WIND FLUTES URBAN (1975) Cambridge. The group approach centered around live elec- Sound sculptures constructed by Max Eastley tronic treatment of instruments, with tape and amplification Note by Max Eastley, c/o David Toop, 7 Topsfield Road, Lon- also playing important roles. Their work covered the com- don N8 8SN, U.K. plete range of notated and improvised music. Inter- modulation performed regularly throughout Britain, in- In July 1975 I made a set of three Aeolian flutes. I had not cluding three performances at the BBC Proms (1970, 1971 heard them sounding, as there was little or no wind on the and 1974) and an Arts Council Contemporary Music Net- day they were finished. work Tour in 1975. However, I remembered that the Aeolian harp can be fitted They also worked with Stockhausen, for example as part of into a sashcord window by closing the window to just above Sternklang, which they recorded under the composer’s direc- the strings and allowing a draught to be created by opening tion. The group’s final concert was in February 1976. other windows in the house. My studio had such a window, so Further information and discussion of Intermodulation’s I arranged the flutes in a similar way and waited. Night came work may be found in Tim Souster, “Intermodulation: A and everything was hot and still. Short History,” Contact 17 (Summer 1977) pp. 3–6; and At that time my studio was in the house where I lived. The Simon Emmerson, “Live Electronic Music in Britain: Three bedroom was across the landing. -
Other Minds Records
http://oac.cdlib.org/findaid/ark:/13030/c8wq0984 Online items available Guide to the Other Minds Records Alix Norton, Jay Arms, Madison Heying, Jon Myers, and Kate Dundon University of California, Santa Cruz 2018 1156 High Street Santa Cruz 95064 [email protected] URL: http://guides.library.ucsc.edu/speccoll Guide to the Other Minds Records MS.414 1 Contributing Institution: University of California, Santa Cruz Title: Other Minds records Creator: Other Minds (Organization) Identifier/Call Number: MS.414 Physical Description: 399.75 Linear Feet (404 boxes, 15 framed and oversized items) Physical Description: 0.17 GB (3,565 digital files, approximately 550 unprocessed CDs, and approximately 10 unprocessed DVDs) Date (inclusive): 1918-2018 Date (bulk): 1981-2015 Language of Material: English https://n2t.net/ark:/38305/f1zk5ftt Access Collection is open for research. Audiovisual media is unavailable until reformatted. Digital files are available in the UCSC Special Collections and Archives reading room. Some files may require reformatting before they can be accessed. Technical limitations may hinder the Library's ability to provide access to some digital files. Access to digital files on original carriers is prohibited; users must request to view access copies. Contact Special Collections and Archives in advance to request access to audiovisual media and digital files. Publication Rights Property rights for this collection reside with the University of California. Literary rights, including copyright, are retained by the creators and their heirs. The publication or use of any work protected by copyright beyond that allowed by fair use for research or educational purposes requires written permission from the copyright owner.