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Folio 5-6 (2013–2014) folio / / volume / letnik 5–6 (2013–2014) / / 56 8)7c0=Fermont An introduction to electroacoustic, noise and experimental music in Asia and Africa -.8=*88&>=&8=85*(.Q*)=.3=9-*=9.91*=.8=431>=&=8-479=.3974):(9.43=94=9-*=-.8947>=4+=&19*73&9.;*=*1*(9743.(= &3)=*=5*7.2*39&1=2:8.(=.3=8.&=&3)=+7.(&`=;*7>=1.1*=-&8='**3=<7.*3=43=9-.8=945.(=&3)=+47,.;*=2*=.+= =).)39=2*39.43=842*=.25479&39=(42548*78=47=*;*398`=&3)=.+==).)39=)*;*145=9-.8=945.(=&='.9=247*=7- ,&7).3,=842*=(4:397.*8_=-.8=.8=&=<470=.3=574,7*88=9-&9=<.11=1*&)=94=&='440=.3(1:).3,=&=247*=)*9&.1*)= ;.*<=43=*;*398`=(42548*78`=2:8.(=,*37*8=&3)=49-*7=7*+*7*3(*8_=3=9-*=57*8*39=5&5*7`==85*&0=&'4:9=842*= 2&/47=51&(*8=<-*7*=*1*(9748&(4:89.(=&3)=*=5*7.2*39&1=2:8.(=24891>=&(&)*2.(=)*;*145*)=47=&7*=:3)*7= )*;*1452*39=&3)=(42548*)='>=14(&1=2:8.(.&38`==5:7548*1>=42.9=*=5&97.&9*8=<-4=1.;*)=&3)=(42548*)= *18*<-*7*b=.9=.8=349=9-&9=9-*.7=<4708=-&;*=&=14<*7=;&1:*`=.9=.8=8.251>=349=9-*=945.(=4+=9-.8=5&5*7_ 7.N:/4N*='*8*).14=/*`=049=54;*=C*=3&814;`=?,41/=07&9*0=:;4)=;=?,4)4;.34=&19*73&9.;3*=*1*097- 5*7.2*39&13*=,1&8'*=?_*=.3=+7.0*_=481*/=/*='.14=3&=94=9*24=?&5.8&3*,&=?*14=2&14`=?&94=2.=457489.9*`=N*= 8*2=857*,1*)&1=0&0)3*,&=542*2'3*,&=801&)&9*1/&=&1.=)4,4)*0=&1.=N*=548&2*?3.2=)7C&;&2=3.8*2=3&2*3.1= )4;41/=54?473489.`=8&/=,7*=?&=)*14=;=3&89&30:`=0&9*7*,&=7*?:19&9='4=)*1*=;=57.-4)3489.=4'/&;1/*3&=03/.,&`=0.= 5&='4=?&/*2&1&=54)74'3*/).=57*,1*)=)4,4)04;`=801&)&9*1/*;`=,1&8'*3.-=?;789.=.3=)7:,.-=42*2'_=*8*).14= 57*)=;&2.=,4;47.=4=3*0&9*7.-=3&/542*2'3*/).-=07&/.-`=0/*7=89&=8*=7&?;_&1.=&1.=8*=)*=7&?;_&9&=*1*097- 0:89.N3&=.3=*085*7.2*39&13&=,1&8'&=57*);8*2=&0&)*280&=)42&N.-=,1&8'*3.-=:89;&7/&1(*;_=;947/*;`=0.= 84=8*=.?=9*-=07&/*;=.?8*1.1.`=N*9:).=)*=)*1:/*/4`=3&2*342&=3*=42*3/&2`=;*3)&7=94=3.=54;*?&34=8=0&04;489/4= 3/.-4;*,&=)*1&=:=,7*=?,41/=?&=94`=)&=C*1.2=489&9.=?;*89=3&814;3.=9*2.='*8*).1&_= We can trace back the first electric instruments and other vgeny Alexandrovich Sholpo (Евгений Александрович music is part of a global human culture with its little dif- tools in the 18th and 19th century: the Denis d’or (Václav Шолпо) and Georgy Mikhaylovich Rimsky-Korsakov ferences and characteristics here and there. Prokop Divis, circa 1748), the clavecin électrique (Jean- (Георгий Михайлович Римский-Корсаков) and their Following the evolution of technology, its globalisation -Baptiste Thillaie Delaborde, 1759), the musical tele- optical synthesizer called the variophone (1932), László and step by step it’s more affordable access, the evoluti- graph (Elisha Grey, 1876), the telharmonium (Thaddeus Moholy-Nagy, Oskar Fischinger and Paul Arma and their on of communication, transport and media, it is not sur- Cahil, 1897–1901), the wire recorder (Valdemar Poul- experiments to modify the physical contents of record prising that composers from Asia and Africa also made sen, 1898), the singing arc (William Duddell, 1899) and grooves (1932), Laurens Hammond and John M. Hanert, their way in the field of electronic, experimental, impro- further experimental and electronic music compositions with the Hammond organ (1933–1935), Yevgeny Mur- vised and vanguard. from the early twentieth century with inventions such as zin (Евгений Мурзин) and the ANS optical synthesizer In regard to multiple discovery, science, art, social and the intonarumori (Luigi Russolo, 1913), the theremin (Lev (1937), Johanna Magdalena Beyer (Music Of The Sphe- political movements are similar. Multiple discoveries can Sergeyevich Termen (Лев Сергеевич Термен, 1917), the res, 1938), Homer Dudley, inventor of the voder and occur at approximately the same time, various examples pianorad (Hugo Gernsback, 1923) and staccatone (Hugo vocoder (1940), Burnett Cross and Percy Grainger with have been testifying this paradigm throughout history: Gernsback, 1926), etc.1 their free music machine (1948), Pierre Schaeffer (Étu- two or more individuals or a group of individuals (sci- The official history also traces many events and charac- des aux chemins de fer, 1948), Raymond Scott with the entists, artists…) who independently make the same ters who made big changes in the way of composing and Clavivox (1952), Karlheinz Stockhausen (Kontra-Punkte, discovery or write about the same concept or theory for / or generating experimental music in the Western wor- 1952/1953), Werner Meyer-Epplers and Herbert Eimert example. ld: Luigi Russolo (Risveglio di una Città, 1913), Ottorino (Four pieces, 1953), to name a few. Things go on and on Charles Bourseul, Johann Philipp Reis, Alexander Graham Respighi (Les Pins de Rome, 1924), Darius Milhaud and across most European countries, Australia, New Zealand Bell, Elisha Gray (and some more), have all been attribu- his experiments with record manipulation to create mu- and the Americas but not only… Africa and above all Asia ted the invention or conceptualisation of the telephone sic (1922), George Antheil (Ballet Mécanique, 1925), Paul have also developed their own electronic music history Their papers were not word-for-word identical but the Hindemith and Ernst Toch’s experiment with electroni- but very few books offer any references about this fact. core ideas are similar. cally generated sounds (1928), Maurice Martenot ans his In most cases composers, musicians and studios weren’t The dada movement officially emerged in Zurich in 1916 Ondes Martenot (1928), Friedrich Trautwein, inventor of disconnected from the world for a simple reason: the but a similar movement already appeared in New York the Trautonium (1928), Walter Ruttmann (Wochenende, world’s modern culture became more and more global, in 1915 and another one (connected to futurism) called 1929), John Cage (Imaginary Landscape No. 1, 1931), Ye- technological tools would be sent and/or produced al- 41° appeared in Georgia too in 1918 even if dada itself 1 http://120years.net most everywhere and now more than ever electronic was unknown to them. Russian futurists and Italian fu- folio / / volume / letnik 5–6 (2013–2014) / / 57 turists shared many common ideas and while Luiggi at the Musikhochschule with Karlheinz Stockhausen,13 to Russolo built his instruments to create noise, Vladimir speak about a few. Popov (Владимир Попов) made his own version of noise From the beginning of the 1950’s Chou Wen-Chung culti- instruments in Russia as well approximately during the vated association with Asian composers such as José Ma- same period. Nikolai Nikolayevich Kryukov’s (Николай ceda, Toshirō Mayuzumi and following in the 1960’s with Николаевич Крюков) sound tracks for Изящная жизнь Tōru Takemitsu and Jōji Yuasa (⑃⌙䅆Ѡ) (both co-foun- (Iziashnaya zhizn, 1932) was obviously close to this noti- der of Jikken Kōbō, ᅳ俧Ꮉ᠓, Experimental Workshop), on of noise at a certain point too. and other classical music composers and scholars.14 So it happened for electronic, experimental and musique Kuniharu Akiyama (⾟ቅ䙺᱈), another co-founder of Ji- concrete as well. Even if the first tools which opened new kken Kōbō recorded the first electronic pieces made by ways of composing (and storing) music appeared first in a Japanese composer (Piece B and Toraware No Onna) the Western world, they quickly spread almost everyw- in 1951.15 Jikken Kōbō was group of mixed media pro- here due to various factors (colonisation, war, capitalism, jects and performing art artists coming from various globalisation…) such as almost any new technology did. backgrounds: audio, visual art, poetry, etc. The group in- The first experimental recording which has been made cluded among others Minao Shibata, Jōji Yuasa and Tōru outside of Europe or the Americas is Ta’abir al-Zaar Takemitsu who worked part time for the Tokyo Tsushin (re-named and published as an almost two minutes Kogyo (now Sony Corporation), where the prototype Josef Tal ( TP[YMQ ) extracts under the name Wire Recorder Piece), a piece for a Japanese-made tape recorder called Type-G had composed with a wire recorder2 in Cairo, Egypt, by Ha- recently been created. Members of the collective mana- lim El-Dabh (Halim Abdul Messieh El-Dabh, 0`[ &G ged to have an arrangement with Tokyo Tsushin Kogyo ) in 1944.3 KK to create demo tapes to promote the company’s new In 1948, Japanese composer Tōru Takemitsu (℺⑔ᖍ) recorder, while the TTK supported the Jikken Kōbō by conceived a music in which he could use technology to providing some space to present their innovative works. “bring noise into tempered musical tones” and in 1949, Shibata and Takemitsu held the first concert for musique another Japanese composer, Minao Shibata (᷈⬄फ䲘) concrète and electronic music in Japan in 195216 at the wrote that “someday, in the near future, a musical instru- multi-media performance of the Jikken Kōbō, 5th Exhi- ment with very high performance will be developed, 17 in which advanced science technology and industrial bition. power are highly utilised. We will be able to synthesise Jōji Yuasaalsocomposed Another World in 1953, a multi- any kind of sound waves with the instrument”.4 media work for tape and slide projections.
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