Electronic Sound Logos, 1959-1989 A Literature Review

Alex Temple Qualifying Exam Paper No. 3 10.21.13

1 1. The S From Hell

Growing up in the late 1960s, Chris McGovern was terrified to the point of having nightmares by the animated logo of the Screen Gems production company, which appeared at the end of his favorite TV shows. Only years later did he discover that a whole generation had been frightened by animated TV logos. They came together online, posting video compilations of the ones they found especially scary — and they often picked the Screen Gems logo as one of the worst. It wasn’t just the stark, minimalist visual design that made it so disturbing; it was also the “creepy” music, a 13-note note synthesizer fanfare composed by Eric Siday (“Good To

Know It Wasn’t Just Me”).

In 2012, McGovern interviewed Rodney Ascher, the director of a short documentary about the logo called The S From Hell. Ascher was also frightened by it when he was young, and the language that he now uses to describe it emphasizes the alienating nature of the synthesizer’s sound: “cold,” “robotic,” “futuristic,” like “music played at a Martian funeral” (“Rodney

Ascher on The S from Hell”). Similar language appears on the film’s website, which refers to the

“mournful, dissonant sounds that hid in the cracks between ... TV shows.” McGovern himself calls the music “other-worldly.” And he notes that Eric Siday’s “whole story has yet to be told”

(“Rodney Ascher on The S From Hell”).

Siday, in fact, is only one figure in a larger story: that of the electronic sound logo. It begins with Raymond Scott, a former jazz bandleader and electronic-instrument inventor who was also responsible for some of the first commercials to use only electronic music (Winner 185), and who coined the term “audio logo” in the late 1950s (Blom and Winner 111, 139). The story continues with Siday himself, who was also a jazz musician before turning to advertising. In the mid-1960s, Siday turned Scott’s idea into a successful business, using a Moog synthesizer

2 (Brend 109) where Scott had used a battery of eccentric devices that he created himself (Winner), formalizing the concept of the sound logo (“Audio Logos” 36), and eventually becoming “one of the best-paid and most widely heard composers in the world” (Brend 108-9).

After Siday’s death in 1976, he was succeeded by Suzanne Ciani, a composer who had studied electronic music at Berkeley and Stanford (Tonlay “Ciani ‘Electrifies’” 30). By the early

1980s, Ciani was considered “one of the commercial industry’s leading composer/performer/ arranger/producers” (“Ciani Makes New Waves” 54); Pinch and Trocco refer to her as “the Eric

Siday of her generation” (164). It was during her career that the electronic sound logo truly entered the mainstream. In the 1970s, she says, “[n]obody understood electronic music”

(Richards); by the end of the 1980s, she was remarking to Back Stage magazine that “[e]veryone

[in advertising] uses a synth now” (Comer “Ciani Musica’s Organic Evolution” 5). In Fortner’s words, “Suzanne Ciani made sure you heard the sound of the synthesizer in your living room.”

Although the individual pieces of this story are fairly well documented, it is only in the last few years that scholars have begun to piece them together into a coherent narrative. Many books and articles that one would expect to discuss the history of the electronic sound logo ignore it entirely. This paper begins with a discussion of that neglect and its possible causes. It then reviews the resources that are available to someone researching the commercial work of

Scott, Siday and Ciani — both the relatively scant academic literature, and the larger body of primary-source material from newspapers, magazines, and non-print media. Finally, it concludes with a brief discussion of the literature on less influential sound-logo composers.

3 2. There’s a Whole Tradition Here That’s Being Ignored

Our problems begin with terminology. Although the brief electronic flourishes that Scott and Siday introduced to advertising are most often called “sound logos” or “audio logos,” there are a plethora of other terms in use, including “logotones” (Georgopoulos 28), “emblems”

(Graakjær and Jantzen 33), “sogos” (Palghat iii), “audio tags” and “commercial themes”

(Richards), “electronic jingles” and “sound signatures” (Pinch and Trocco 56), “sonic brand signatures” (Kiley), and “audio signatures,” “audio watermarks,” and “sound-marks” (Bigge).

Worse, when writers use multiple terms in a row, they rarely elaborate on the differences between them; Pinch and Trocco, for example, never explain how an “electronic jingle” differs from a “sound signature.”

For the purposes of this paper, we use Eric Siday’s definition of “sound logo”: a few seconds of sound, without words, designed for use in radio and TV commercials, and often intended to complement a company’s visual logo (“Audio Logos” 34). A sound logo is distinct from a jingle, which is longer and has lyrics; Siday’s promotional material emphasizes this distinction with lines like, “Radio stations interested in shedding thinly-worn jingle images now can try something new in logos” (“Identitone’s I.D.’s”).

Modern writers on advertising tend to maintain this distinction, even if they use different terminology. Graakjær and Jantzen, for example, define an “emblem” as a “short-lived musical sound ... synchronized with [visual] logo presentation” (65), only a few seconds long (33) and consisting of only one “museme,” or unit of musical meaning (66). Likewise, Smillie refers to

“two- to five-tone audio logos” that you “hear at the end of a commercial, usually when the company’s [visual] logo pops onto the screen.” As an example, he names Walter Werzowa’s five-note, wordless logo for Intel. Strangely, though, the same writers typically present the

4 sound logo as a recent development. Smillie, writing in 2000, makes reference to their “increasing popularity” and gives only contemporary examples, while Graakjær and Jantzen, writing in 2009, refer to the “apparently recent advent of emblems in in TV commercials” (66) and include a chart suggesting that they became popular in the 1990s (67). A 2007 article in Brand Strategy calls sound “the last great unexplored territory for the marketing profession” (“Aural Advertising”), and even Daniel Jackson’s Sonic Branding: An Introduction — a book written by a sound-logo composer that includes a chapter called “A Historical Perspective” (51-3) makes no mention of

Scott, Siday or Ciani.

One might expect to see more about sound logos in books on electronic music, especially since the three major sound-logo composers played important roles in the development of the synthesizer. Scott was responsible for such devices as the Orchestra Machine, an early ancestor of the Mellotron (Irwin and Chusid 99), and the Electronium, an “instantaneous composition/performance machine” (Irwin and Chusid 102). Ciani worked for Donald Buchla

(Milano “Suzanne Ciani” 33), and later helped popularize his instruments (Fortner). Siday was

Robert Moog’s second customer (Chadabe 142). But until recently, histories of electronic music have focused primarily on the avant-garde — sometimes with a chapter devoted to electronics in rock and pop music, but nothing about music written for commercials. We see this pattern, for example, in Elliott Schwartz’s Electronic Music: A Listener’s Guide, Paul Griffiths’s A Guide to

Electronic Music, and the 1987 edition of Peter Manning’s Electronic and Computer Music. Even books that are more focused on the obscure recesses of popular culture — such as Peter

Shapiro’s Modulations, which discusses experimental bands such as Faust and Throbbing Gristle

— ignore the world of commercials.

Why such a pattern of neglect? In writings on advertising, it may result from the profession’s focus on constant innovation and its tendency to dismiss the techniques of the past

5 as naive. For some authors, the sound logo has been subsumed into the broader category of sonic branding, and the way marketers conceive of branding in general has changed so much since the era of Scott, Siday and Ciani that, from a business point of view, calling their approach naive might actually be justified. Starting in the early 1990s, many large corporations have shifted their focus from marketing a product to marketing “a way of life, a set of values, a look, an idea”

(Klein 23). It is this sort of branding that “Aural Advertising” has in mind when it refers to sound as an “unexplored territory”; the article describes a brand as “both a promise and an experience,” and the first example it gives is the music played in Starbucks, not the Intel logo (and certainly not the Screen Gems logo).

Among scholars of music, advertising music has traditionally been regarded as trivial, if not suspect. This is nowhere clearer than in the 2013 edition of Manning’s Electronic and

Computer Music. Unlike in the 1987 edition, Manning does acknowledge the role of “electronic jingles and related sound effects” in familiarizing the public with synthesizers — but he accuses them of “debas[ing] such sources to the level of an advertising aid” (168), and does not deign to mention any composers of such “ephemera” by name. Advocates for sound-logo composers have often commented on this tendency among academics: Georgopoulos, while interviewing

Ciani, mentions that “[a]dvertising music, jingles, et cetera, are typically written off by the higher brow” (31), and Rhea, while discussing Raymond Scott, remarks that “the academic canon ... just don’t really care about anything except the personalities they have decided are pioneers...

[T]here’s a whole tradition here that’s being ignored” (89).

But attitudes have been changing in the 21st century. As we will see, the most comprehensive scholarly discussions of electronic advertising music have been published in the last few years. The cultural shift is also apparent in the different editions of Thom Holmes’s

Electronic and Experimental Music. The first edition, from 1985, makes only a brief mention of

6 Scott and Siday in the context of the history of the Moog (78-9). But the second, from 2002, contains quite a bit of information about Scott, and it even mentions his commercial work, which it describes as “jingles,” “special effects,” “space-age sounds” and “joyful electronic abstractions” (148). The third edition, from 2008, goes into even more detail about Scott’s advertising career; it includes a list of his clients, and uses the term “audio logos” for the first time (161). Even the changing title of the book reflects a changing attitude: the second edition is subtitled “Pioneers in Technology and Composition,” while the third reflects a new socio- historical emphasis with the subtitle “Technology, Music, and Culture.”

This shift is partially the result of larger trends in academia and the arts: increased skepticism toward canons, the dissolution of the wall between “high-brow” and “low-brow,” and a desire to reevaluate forms of cultural production that have been ignored in the past. But there are other reasons that sound-logo history has garnered so much more attention in the 21st century. Consider the revival of interest in Space-Age pop albums such as Esquivel's Other

Worlds Other Sounds (1958), which Taylor attributes to “a kind of nostalgia for past visions of the future, a future that never arrived” (Strange Sounds 96). A similar “retro-futurist” orientation is often evident in 21st-century writings on the sound-logo pioneers. Romney, for example, remarks that Scott’s work “carries a powerful nostalgic charge.” Scott, he says, “occupied a particular place at the juncture of commerce, science and utopian ideology” — a place where people believed “that if only the right sounds could be developed, then the world would be a better place.” These are not the words of someone writing in the early 1960s, when synths were new and mysterious; nor of someone writing in the early 1980s, when they were rapidly entering the mainstream; nor of someone writing in the early 1990s, when they had become so ubiquitous that they hardly seemed worth mentioning. These are the words of someone writing long enough after the Space Age that he can see it through a historical lens. It is only now, half a century after

7 Scott, Siday and Ciani developed a new form of advertising and a new use for the synthesizer, that we have enough perspective to understand their legacy.

3. Academic Sources

It should come as no surprise, then, that the two most comprehensive, detailed and insightful scholarly texts on the history of electronic music in advertising were written in the last few years: Timothy D. Taylor’s 2011 article, “The Avant-Garde in the Family Room: American

Advertising and the Domestication of Electronic Music in the 1960s and 1970s,” and Mark

Brend’s 2012 book, The Sound of Tomorrow: How Electronic Music was Smuggled Into the

Mainstream. As is apparent from their titles, both take advantage of the broad historical perspective made possible by the passage of time, and both focus on the transformation of electronic music from something alien — the kind of thing that makes children have nightmares about TV production company logos — to an almost universally accepted feature of the sonic landscape. We may now associate the electronic sounds of the Space Age with utopian futurism, but as Taylor notes, audiences in the 1960s often found them “spooky,” comparing them to

“spiders in the sky,” “music from Mars,” and “static from outer space” (390, italics in original).

In order to be accepted by the commercial-watching public, electronic music had to be

“domesticated” — deliberately and systematically associated with everyday life rather than science fiction (389).

Taylor is significant for being one of the only writers, academic or otherwise, to discuss

Scott, Siday and Ciani, and to place all three of them into a coherent historical narrative. In his account, Scott was well aware that listeners in the early 1960s were resistant to electronic music

(390) — but he never had much success at counteracting that resistance, largely because he was

8 “too wedded to the sounds his machines could make” (395). Siday, on the other hand, was

“spectacularly successful” (395), not least because his logos were “conceptualized at least in part as tonal music” (396). According to Taylor, Siday’s most famous creation — a synthesizer melody representing the sound of a percolating coffee pot, created for a Maxwell House commercial in 1959 — functioned so well as an illustration of the images on screen that many viewers did not even realize that it was created electronically (395).

If Siday was so successful, what was Ciani’s role? In Taylor’s view, she brought “a kind of rarefied aesthetic approach” to the sound logo (404), creating “sounds that were more realistic than an actual recording” by blending as many as twenty different sonic elements (402). In her most famous creation — the sound of someone opening and pouring a can of Coke, done entirely with electronics — “Coca-Cola sounds better than it does in real life” (404).

Brend does not discuss Ciani, but he does have a chapter on Scott and Siday (103-122).

The story he tells differs a bit from the one in Taylor’s article: in his account, Scott did quite a bit to get the public more accustomed to electronic music, using it both “as a humorous device”

(106) and “to emphasize the visionary technology” of companies like Bendix, a.k.a. “The

Tomorrow People” (107). Brend attributes Siday’s greater commercial success not to a difference in compositional style, but to a difference in entrepreneurial skill. “Siday knew how to market himself,” he says. “He repeatedly emphasized electronic music’s advantages for advertising, namely a limitless supply of unique sounds and lower production costs” (110).

Scott, on the other hand, had a “bewildering array of corporate identities: Manhattan Research

Inc; The Electronium Corporation; The Jingle Workshop; The World of Sound; Raymond Scott

Enterprises” (121). Brend’s book is also notable for being possibly the only print source to mention that Siday’s Screen Gems logo was known as “The S from Hell” (111), although he does discuss fear of production company logos as a general phenomenon, or connect the nickname

9 with the anti-electronic prejudice that Scott and Siday were trying to undo.

Another recent academic text that takes a big-picture approach to sound-logo history is

Electronic Music by Collins, Schedel, and Wilson, which is the newest entry in the “Cambridge

Introductions to Music” series. Although their discussion is not as extensive as those of Taylor and Brend, the chapter called “Into the Mainstream” does cite electronic advertising music as a

“neglected area of study in electronic music’s rise to public consciousness” (82). Like Taylor,

Collins, Schedel, and Wilson mention all three of the major logo composers, along with lists of some of the companies they worked for. In the book’s conclusion, they predict that neglected electronic music will receive greater attention as “[r]etro movements pore over the inspiring examples, and missed opportunities, of the past” (192).

Although this broad perspective is a recent phenomenon, there are a number of other academic sources that contain information about Scott, Siday and Ciani individually. Scott is perhaps the most frequently discussed. As we saw above, each new edition of Holmes’s

Electronic and Experimental Music contains more and more information about him. Deutsch’s history of electroacoustic music includes a short account of a visit to Scott’s Manhattan Research laboratory on Long Island (30-31). Stubbs, writing about the schism between the avant-garde art world and the avant-garde music world, names a few of the companies that Scott worked for and praises him as “a rare and fleeting example ... of a successful interface between avant garde music, capitalism and the general public” (53). More substantially, Attrep’s dissertation on the relationship between advertising and identity formation in American culture uses Scott’s work to

“highlight the cultural significance of television jingles” (64). She includes detailed analyses of two of his ads — a jingle for Sprite and a commercial for Twinkies, both from 1963 (64-7).

Though neither of these ads features a sound logo in the technical sense, Attrep does name

Scott’s “‘futuristic’ style of mnemonic melody” as an ancestor to the work of contemporary

10 sound-logo composers such as Walter Werzowa.

Suzanne Ciani’s name has a tendency to show up in writings on the history of women in electronic music — perhaps because, at the time she started her career, it was an almost entirely male-dominated field. Often she is mentioned only in passing, as in Hinkle-Turner (202, 227), but Grigsby provides a detailed account of her electronic equipment and a long list of her clients

(169-70), and Ammer includes a brief biographical sketch and some information about the Buchla synthesizer that she used in the 1970s (237-9). The most detailed academic source on Ciani, however, is Pinch and Trocco’s Analog Days, which devotes an entire chapter to her (155-67).

Although the book is not exclusively about women, it quotes her at length about the role that her gender has played in her work, from her reaction to the boy’s-club attitude of the 1960s electronic-music scene (161) to her desire that the sounds from her synth be “feminine and warm, and sensual” (163). The chapter also discusses the details of her career at length, and explores her aesthetic, which she describes as “developing metaphors in sound” (163).

Of the three big names, Eric Siday has garnered the least attention from scholars. When his name does appear, it’s usually as a side-note in discussions of technological history; the fact that he was Robert Moog’s second customer, for example, comes up often (Chadabe 142; Pinch and Bijsterveld 550; Kettlewell 115). There are useful nuggets of biographical and technical information to be found, though, especially in Trevor Pinch’s various writings. Analog Days includes some information about his first meeting with Moog (55-8); Pinch and Trocco’s later article “Shaping the Synthesizer” argues that Siday’s order “turned out to be important for the future of the synthesizer,” because he wanted “not just modules but a complete system” (255); and Pinch’s article “Technology and Institutions: Living in a Material World” includes more detail about what exactly he ordered, including a keyboard on which each note is separately tunable (475).

11 4. Primary Sources on Scott and Siday

Academic texts are not the only source of information about sound logos. In fact, when it comes to their reception history, the best place to turn is the newspaper and magazine articles that were written just as the phenomenon was taking off. Perhaps the earliest is Kaselow’s 1960 piece on Raymond Scott in the New York Herald Tribune. If most people viewed electronic music with suspicion at the time, there is no sign of it here: Kaselow discusses Scott’s innovations in a gee-whiz tone, with remarks like “You may think you’ve heard all there is, but you ain’t heard nothin’ yet.” It’s immediately apparent that Scott takes his commercial work seriously, as he compares it to “writing ... a love letter” and says that he’s “proud” to be writing jingles.

Scott did not garner as much attention from the mainstream print media as the more marketing-savvy Siday. Shabecoff, writing about Siday’s work in the New York Times in 1964, exhibits the kind of skepticism toward electronics that was absent from Kaselow’s article:

“Pound a typewriter, synchronize it with a xylophone record spun at high speed, and play it all on electronic equipment. If you have organized it correctly it should transmit ‘a pleasant kind of urgency, expressing the American Express image.’ So at least, says Eric Siday...” He does, however, go into some detail about the technical aspects of Siday’s work — more than one might expect, given how obscure terms like “filtering” and “oscillators” were at the time.

Other pieces are more positive. Hyder’s two 1966 articles in the Baltimore Sun seem to confirm Taylor’s explanation of Siday’s success, praising his music for its “conventional scales and harmonies,” in contrast to the “abstract sounds” of “serious composers in the field.” At the same time, Hyder seems intrigued by the “new timbers” [sic] and “literally infinite possibilities” that electronic music offers (“Many Innovations”). He also speaks positively of another aspect

12 of Siday’s work: “short passages of electronic music in different moods ... to be played by radio stations to introduce, accompany and ornament their various program features” (“Television’s

Music Man”). Unfortunately for Siday, though perhaps fortunately for journalistic integrity,

WFBR declined to use the package’s “background effects,” claiming that they “amounted to subliminal editorializing,” able to manipulate a listener into perceiving “the day’s action in

Vietnam” as “either a noble crusade or a senseless tragedy” (“Many Innovations”).

The most detailed of these articles is an anonymous 1966 piece in Time called

“Swurpledeewurpledeezeech!” — the title being an onomatopoetic representation of the end of one of Siday’s most famous logos, written to accompany the announcement that “CBS presents this program in color!” This is the earliest mainstream-media article to distinguish between jingles and sound logos (“Jingles are fine for the one-minute spiel, but for the short, hard pitch, signature music is the thing”), to emphasize logos’ brevity (“None of them last longer than seven seconds”), and to provide the name of Siday’s packages of sounds to accompany news broadcasts (“Identitones”). It also provides insight into his aesthetics (he describes sound-logo work as “the art of miniaturization”) and his working method (“His instructions for the signature music for American Express were that it should say ‘America, business, travel.’”).

At the same time that Time and the New York Herald Tribune were introducing Scott and

Siday to lay audiences, advertising trade journals were introducing them to insiders. McMahan, writing for Advertising Age in 1962, paints a picture of advertising as a medium in crisis: “Now that the average American family is exposed to more than 500 commercials a week ... how do you ever get ’em to look up when yours comes on?” Raymond Scott has the answer: “Grab ’em by the ears!” Scott, and McMahan with him, portray the “audio logo” as something that has the capacity to “break through the tv [sic] viewers’ apathy” (119).

Two years later, Scott was interviewed by Sponsor, and he used the opportunity to rail

13 against the closed-mindedness of the advertising industry: “The client is not creative, but he goes by the classic ‘I know what I like’ principle. And I can’t blame him. I’d probably say the same thing in an area about which I know nothing” (“Raymond Scott Sounds Off” 42). Then, two years after that, the magazine profiled Siday. By this time he had started producing Identitones, which the article refers to as “image themes,” and he seems to be moving away from the tonal emphasis of his earlier logos: “The time has come for a contemporary, appropriate sound that doesn't go ‘biddly-ba-ba-ba’ like the sound of call letters, but perhaps it goes up like a rocket — it zooms and hangs there” (“New ‘Image-Builder’”). The most substantive sound-logo piece in

Sponsor, however, is one from 1964 called “Audio Logos: An Image in Seven Seconds—or Less.”

It does for the advertising press what “Swurpledeewurpledeezeech!” does for the mainstream press: not only does it use the terms “audio logo” and “sound logo,” but it offers a precise definition, in line with Siday’s usage (34). It even notes that Scott and Siday use the terms a bit differently, with Scott using them to refer to any brief electronic sound in a commercial, and

Siday preferring to restrict it to brief electronic sounds that represent entire corporations, not just individual products (36). Like McMahan’s, the article is enthusiastic about the possibilities offered by electronics, but it also notes that while “[m]any people are now fascinated with the use of electronic music for logos,” most of them do not have the money or technical knowledge to do it well, with the result that “there very few people doing sound logos at a high professional level” (37).

Siday also advertised his services in trade journals, and the wording of his pitches shows that he was just as invested in futurism as Scott was. “[T]he industry has exhausted every possible way to create station logos with vocal groups or orchestras,” proclaims one 1966 ad;

“Electronic music is the new way to say something is new” (“Identitone’s I.D.’s”). Another declares that “station logos using vocal groups and orchestras are becoming passé and the time is

14 appropriate for ‘electronic music’ identifications” (“A New Sound”). The terminology is still fluid at this point — and electronic music still new enough that it needs to be placed in scare quotes! — but one thing is clear: this is a “non jingle concept” (“New Identitones Package”).

5. Primary Sources on Ciani

Suzanne Ciani’s career is much more extensively documented than those of Scott and

Siday, in large part because she benefited from the increased familiarity with electronic music that they helped bring about. The bulk of her advertising work was done between the mid-1970s and the mid-1980s, and by then, synthesizers were no longer an esoteric niche interest. As a result, one can trace the arc of her career through interviews and profiles in newspapers, general-interest magazines, and magazines for electronic-music enthusiasts. Particularly useful for this purpose are Helen Epstein’s “The Cello Can’t Play These Chords,” Robert Masello’s “Glugs, Blinx, and

Phantom Violins,” and Bob Doerschuk’s “Suzanne Ciani & Her Apprentices Set the Pace of

Commercial Synthesis.” The three articles were published roughly at five-year intervals, and they show Ciani’s career growing at a remarkable pace.

Although Ciani started doing advertising work in 1969, Epstein’s 1974 article finds her still working in obscurity. Synths are still unfamiliar enough at this point that Epstein has to explain what they are: “The synthesizer is an electronic music-making apparatus which produces virtually any sound its player desires.” Like Hyder in the 1960s, Ciani blames avant- garde composers for the unpopularity of electronic music — but she also predicts that it will soon become more popular, because “children are now growing up with synthesizers – the idea is not strange to them.”

15 By the time Masello profiled Ciani in 1979, she was “unchallenged as the top synthesizer specialist in radio and TV advertising,” thanks to the success of her Coca-Cola logo. She describes her newfound industry fame with a wonderful line that would be dismissed as fiction if it appeared in a biopic: “Sometimes I feel like Faye Dunaway in Network. I’ll be having a romantic dinner, and I’ll worry about how to capture the sound of the year 2000 for a Bulova spot.” Like Scott and Siday before her, she is still using synthesizers to evoke the future. But in

1985, Doerschuk begins by asking the reader to “try listening—really listening—to the music beneath the announcer’s voice. Notice how it follows the visual images. Hear how it mixes electronic textures together, and traces a clean line of tension and resolution” (16). Just six years after that Bulova spot, electronic music has become so familiar that people will tune it out unless specifically told to focus on it. Doerschuk’s article is also quite a bit longer than Epstein’s or

Masello’s, and the bulk of it consists of an interview with Ciani and several members of her production company, Ciani/Musica. The extent of her fame is clear from Ciani/Musica creative associate Chris Ianuzzi’s remark: “I’d been trying to get a job with Suzanne even before I moved to New York” (17).

But the same prejudices that have kept Ciani and her predecessors out of so many books and articles show up here, too. Sherman, for example, remarks that she “has not been content to coast along the crest of commercial success” — suggesting that her logo work does not count as a real creative outlet, despite the fact that she describes advertising as “an art form” (“Ciani Makes

New Waves” 63). Fantel is more overtly dismissive, describing her advertising work as something she does to support “her habit of serious composition.” He also remarks that

“[a]mong musicians outside the sphere of films, television and advertising, attitudes toward

‘computer music’ range from indifference to disdain.” Electronic music may have been well- known, but it was not universally loved.

16 Ciani addresses both of these prejudices and others in a 1979 interview for Contemporary

Keyboard. People “get overwhelmed” when they see a “wall of synthesizers,” she says (Milano

“Suzanne Ciani” 35), and they think synths that aren’t keyboard-based, like her Buchla, are

“weird” (42). Even if they are interested in electronics, they don’t really understand what they can do, and as a result they “treat [the synthesizer] as an after-the-fact overdubbed instrument”

(35). (Although Ciani is speaking here of being asked to insert electronic sounds into an already- full musical texture, her complaints echo those of Raymond Scott fifteen years earlier: “I am usually brought in after the idea for the commercial has taken shape. I think this is bad”

(“Raymond Scott Sounds Off” 43).) And if they do understand synthesizers, they are intimidated by the fact that a woman knows so much about them (36). In the meantime, the academic world has no respect for advertising as a medium: when Ciani was at Mills College, using their studio to do “commercial music” was actually forbidden, and she was only able to make her first spots for Macy’s there because “nobody at Mills even knew what commercial music was” (33). And yet she notes that things have gotten a bit better since Star Wars came out: “I go to sessions and people ask for Artoo Detoo sounds” (38).

Milano’s interview is long and full of fascinating details. In addition to chronicling the obstacles that Ciani has faced, it also includes discussion of her equipment and, unusually, a detailed technical analysis of one of her pieces. Ciani’s remarks on on her famous logo for Coca-

Cola are worth reproducing in their entirety:

I tried to make the bubbles sing. I was going to play the jingle in the bubbles. I had all the harmonics tuned to play a melody, but it didn’t work out. Again I was given a hole to fill and the thing that read quickest and worked the best was the single line up to infinity. It’s a perfect pour. It’s really very easy. The harmonics are the harmonics of a subaudio fundamental. You sweep up the harmonics, and then the noise part of course is FMing the filter. That’s how you get that fuzzy sound. (40) By the end of the 1980s, Ciani had mostly moved on from commercials, focusing instead 17 on putting out New Age synth albums. In 2011, however, Finders Keepers Records released

Lixiviation, a compilation of her work from the 1970s and 80s. The CD sparked new interest in her advertising music, and the reviews and interviews that followed reveal the same shift in attitude that we see in the work of academic writers such as Brend and Taylor. Not only do these newer articles take her commercial music seriously, but they also tend to place it in a larger historical context. Roberts, for example, refers to the late 1970s and early 1980s as “a fascinating moment when computer-generated music was easing its way into America’s subconscious one corporate tag, quirky pop-fizz and orgasmic missile at a time” (the latter referring to the sound effects that Ciani created for the Starland Vocal Band’s “Afternoon Delight”). Georgopoulos remarks that Lixiviation “conjures future worlds” and “visions of otherworldly possibility” from a “heightened cultural moment when philosophy, science and mysticism merged for a few peak years” (28). It is hard not to be reminded of Romney’s comments on Raymond Scott; even the sentence structures are similar. (Recall his remark that Scott occupied “a particular place at the juncture of commerce, science and utopian ideology.”) We see here that nostalgia runs in regular cycles: Georgopoulos, writing in the early 2010s, idealizes the futurism of the 1970s in very much the same way that Romney, writing in the early 2000s, idealizes the futurism of the 1960s.

These recent articles about Ciani also include a number of quotations which reveal a lot about how she conceives of her work. In her conversation with Georgopoulos, she delves into not only the aesthetics but the ethics of advertising music: “I love the subliminal aspect of advertising ... And music and sound are perfect subliminal communicators: I could design a sound that would make you feel thirsty, or cold, or safe, or scared. It was not evil manipulation, but a form of poetry. The sound of a crystal jewel, a crispy potato chip” (31). Elsewhere, she describes a sound logo as a “compact world,” a “microcosmic compositional form” (Richards).

There is another source, however, that contains more information about Ciani’s career

18 than all of these reviews, profiles and interviews put together. Between the mid-1970s and the late 1980s, the advertising journal Back Stage published a paragraph or two about nearly everything she did. Typically these profiles have punny headlines and provide a little bit of information, either technical or stylistic, about the sounds she created. When she did a sound logo for Atari, for example, Back Stage included a blurb called “Ciani Plays Atari Games,” and mentioned that the sounds in the logo were inspired by the actual sounds in the game. These reports are far too numerous to discuss individually, but I have listed them in an appendix at the end of this paper, and one can trace the history of Ciani’s career simply by looking at the headlines. She first appears in 1976, with a single article. By 1980, she is creating new commercials at an incredible rate — sometimes more than one a week. We see her win a Clio in

1981 (“Ciani Scores With Clios”), and release her first solo album in 1982 (“Suzanne Ciani

Debuts New LP”). As her solo career takes off in the mid-80s, the reports on new advertising campaigns refer less and less to her personally, and more and more to her company,

Ciani/Musica. At the same time, the reports that are about her personally are increasingly about activities other than writing advertising music: giving lectures (“Ciani Addresses University of

Chicago Seminar”), making music videos (“VH-1 Premieres Suzanne Ciani Music Videos”), and putting on concerts (“Synthesizer Wiz Suzanne Ciani Goes Semi-Solo; Takes Half Credit”). By the end of the 1980s, both she and her company have all but disappeared from the magazine.

During the same period, Back Stage also ran a number of longer articles on Ciani. These are often excellent sources for information about her aesthetics and compositional process; one article, for example, quotes her explanations of the thinking behind the Glidden paint logo (“I used a full orchestral palette, primarily electronic, to musically symbolize the myriad paint colors”) and Vicks cough drop logo (“I used electronic sounds to dramatize that tingling feeling of relief, with a melodic signature that puts Vicks on top”) (“High Notes”). They also show the

19 gradual mainstreaming of electronic music. In 1983, Ciani is still speaking of synthesizers the way Raymond Scott did — as something that “will stand out from the normal clutter” (“Ciani is

Musically Unique” 67). But just two years later, she speaks of them having “moved to the next level of awareness and acceptance” (“Ciani Builds with Purpose”), and by 1987, Comer is crediting her and her company with having “helped win favor for the synthesized faction”

(“Ciani Musica: Blending Human Talent” 50B). Finally, like the newspaper and magazine articles discussed above, the longer Back Stage articles provide a history of Ciani’s career in microcosm. Early on they are bright and enthusiastic; Tonlay, for example, refers to her in 1978 as a “one-woman creative dynamo” (“Suzanne Ciani = Ideas & Plans”). A decade later,

Greenwald takes a retrospective tone, commenting that she “brought the enormous potential of electronics to the attention of commercial music producers in the early 1970s” (16B). By 1988, her impact is taken as a given.

6. Other Media

Although the bulk of information about Scott, Siday and Ciani appears in various print media, there are other resources available to researchers. The Lixiviation CD, mentioned above, includes many examples of Ciani’s advertising work; although only two of the tracks are, technically speaking, sound logos — the famous Coca-Cola “pop and pour,” and her 1982 Atari logo — the longer spots display her use of technology in commercial contexts to great advantage, and the liner notes include comments from her on every track. (On Coca-Cola: “This is the logo that changed my life.”)

Raymond Scott received a similar treatment in 2000, in the form of a CD from Basta

Music entitled Manhattan Research Inc. Here too, music created for commercials sits alongside

20 esoteric synthesizer experiments, and only a few tracks deal with logos per se. However, Scott’s

1961 demo reel for Electronic Audio Logos, Inc. goes a long way towards explaining why he never reached Siday’s level of success. Entitled “Don’t Beat Your Wife Every Night!”, it consists of skittering, abstract electronic riffs and surreal pronouncements from Scott’s friend

“Bucky” Coslow: “Someday, science tells us, we’ll be able to clean our walls electronically. But right now we all depend on Spic ’n’ Span!” According to Blom and Winner’s liner notes, the slogans were improvised, and their synchronization with the electronic logos was entirely accidental (111). In total, the liner notes run to 140 pages, and they include detailed comments on each track, reproductions of advertisements for Scott’s various corporate identities, and interviews with people who knew him when he was alive.

Nobody has yet released an Eric Siday compilation. The most complete aural document of his work is a 1971 LP called Sounds of Now, which features a mixture of logos and “image themes” for advertisers and news stations. If it is ever rereleased on CD, he may finally receive the level of attention that Scott and Ciani have. In the meantime, Reelradio’s Media Preservation

Foundation Collection has also released a 1968 Identitones demo on its website; it includes the

“S from Hell,” the Maxwell House coffeepot melody, the CBS in Color logo, and sounds created for Ford and Westinghouse, among other companies (“Identitones Demo”). Those seeking to reconstruct Siday’s career in detail, however, should look to the Eric Siday Archive at the New

York Public Library, which includes manuscripts, correspondence, photographs, and business records. In fact, part of the reason that Taylor is able to tell the story of the sound-logo in such detail is that he draws extensively on this collection.

There is also a Raymond Scott Collection at the University of Missouri–Kansas City, which contains production notes, scrapbooks, correspondence, and, according to its website, over

400 manuscript scores. This archive provided much of the material in the liner notes to

21 Manhattan Research Inc. And although there is not (yet) a Suzanne Ciani archive, she maintains a website that includes quite a bit of information about her commercial work. In addition to biographical details, the “Historic Ciani” section features recordings of her logos (many of which do not appear on Lixiviation), and videos of her demonstrating her equipment on TV shows such as Omni, 3-2-1 Contact, and The David Letterman Show.

6. Other Composers

Scott, Siday and Ciani were not the only composers to create sound logos or use electronic music in commercials before the mid-1980s. They are, however, the most well- documented by far. Everyone else who worked in that field has either remained obscure or become famous for other reasons.

Daphne Oram and Bernie Krause belong in the latter category. Oram could be called a sort of British Raymond Scott — an electronic-instrument inventor who occasionally ventured into the world of commercials. Brend briefly mentions her advertising work (81), and Hutton notes that she created “music jingles” for companies such as Nestea, Phensic, Horlicks and

Anacin (51). Oramics, a 2007 CD compilation of her work, includes electronic ads for Lego,

Tumblewash, Kia Ora and other products, though nothing that could strictly be described as a logo. Most sources on Oram, however, focus on her inventions, her experimental music, or her music for radio plays and documentaries. (See, for example, McCartney, or Manning’s “The

Oramics Machine.”)

Krause is best known for an album called The Nonesuch Guide to Electronic Music, which he created with Paul Beaver in 1967, and for his later career as a bioacoustician. According to

22 Taylor, he also had some success in the advertising world (“The Avant-Garde in the Family

Room” 399-400) — but his autobiography, Into a Wild Sanctuary, does not mention any ads that he worked on, and Franus actually mentions his bioacoustic research in an article about sound logos, in order to make an analogy between “survival in nature” and “survival for brands” (52), without saying a word about the logos that he created himself.

Part of the reason that writers on Oram and Krause tend to ignore their advertising work is that they themselves saw it as nothing more than a job. According to Hutton, Oram turned to

“this commercial outlet” because of “the financial pressures of running an independent studio”

(51). A profile of Krause in Keyboard magazine finds him saying that a commercial is “not really art,” but rather “craft by committee” (Milano “Bernie Krause”). Steve Horelick, on the other hand, speaks about his advertising work using the language of art. “I approach my work as a painter approaches his,” he told Craig Levinsohn in 1982, “taking forms, shapes and colors and blending them together in just the right way, weaving beautiful textures.” If this sounds like something that Suzanne Ciani would say, that is no coincidence: he entered the sound-logo business only a few years after she did, and like her, he uses a Buchla 200 (“Patchworks Rocks for Midas”), combines synths with real-world sounds (“Horelick’s Sound Clicks”), and even created a logo for Atari (“Patchworks Works for Atari”).

Nor is Horelick the only logo composer to be influenced by Ciani’s example. Robert

Kahn, a former Ciani/Musica employee, gained some attention later in the 1980s for his focus on timbre and his ability to create “lush and dream-like” electronic music (“Robert Kahn Searches for ‘Texture’”). Roberto Mighty, speaking to the Boston Globe in 1982, names Ciani as “the top producer-composer in the business today” as part of his defense of synthesizers as “the wave of the future in corporate logos” (McLean). And it’s a good thing that Ciani had allies in that fight, because anti-synth sentiment stuck around for a long time. Just look at Dennis McDougal’s

23 comments on a logo by another composer, Ted Ancona, in 1984. It’s “like something out of the

Twilight Zone instead of a radio trademark,” he says; the client “wanted French horns, not piano scales set against some kind of weird electronic overdub.” The fact that you are reading this literature review is proof that attitudes toward both synthesizers and sound logos have changed.

But it might not have been possible without Suzanne Ciani’s disarmingly friendly advocacy — not to mention her glugs, blinx, and phantom violins.

24 Works Cited (Articles and Books)

Ammer, Christine. Unsung: A History of Women in American Music. Portland: Amadeus Press,

2001. Print. Attrep, Kara Anna. The Sonic Inscription of Identity: Music, Race, and Nostalgia in Advertising. Diss., University of California at Santa Barbara, 2008. Ann Arbor: UMI, 2009. Web. 7 Apr. 2013. “Audio Logos: An Image in Seven Seconds—or Less.” Sponsor 8 June 1964: 34-7. Print. “Aural Advertising: Sound - The Uncharted Territory.” Brand Strategy 12 Mar. 2007: 33. Web. 21 Aug. 2013.

Bigge, Ryan. “Hitting a sour note with customers: today’s intrusive audio logos feel like afterthoughts compared with past classics.” Marketing Magazine 12 Feb. 2001: 8. Web. 7 Apr. 2013. Brend, Mark. The Sound of Tomorrow: How Electronic Music was Smuggled Into the Mainstream. New York: Bloomsbury, 2012. Print. Blom, Gert-Jan, and Jeff Winner. “Track Notes: Mining the Archives.” Liner notes. Raymond Scott. Manhattan Research, Inc. Basta, 2000. CD. 108-139.

Chadabe, Joel. Electric Sound: The Past and Promise of Electronic Music. Upper Saddle River, NJ: Prentice Hall, 1997. Print. “Ciani Addresses University of Chicago Seminar.” Back Stage 12 Sep. 1986: 57. Web. 20 Oct. 2013. “Ciani Builds With A Purpose.” Back Stage 26 Apr. 1985: 43B. Web. 2 Feb. 2013. “Ciani is Musically Unique And Chip Off the New Block.” Back Stage 22 Apr. 1983: 5, 67-68. Web. 2 Feb. 2013. “Ciani Makes New Waves in Commercials and Beyond.” Back Stage 23 Apr. 1982: 54, 63. Web. 2 Feb. 2013. “Ciani Plays Atari Games.” Back Stage 10 Nov. 1978: 6. Web. 4 Feb. 2013. “Ciani Scores With Clios.” Back Stage 3 July 1981: 12. Web. 2 Feb. 2013. Collins, Nick, Margaret Schedel, and Scott Wilson. Cambridge Introductions to Music: Electronic Music. Cambridge: Cambridge University Press, 2013. Print. Comer, Brooke. “Ciani Musica: Blending Human Talent With Technology.” Back Stage 24 Apr. 1987: 50B, 51B, 63B. Web. 2 Feb. 2013. Comer, Brooke. “Ciani Musica’s Organic Evolution.” Back Stage 13 May 1988: 5, 22. Web. 2 Feb. 2013.

Deutsch, Herbert A. Electroacoustic Music: The First Century. Miami: Belwin Mills, 1993. Print.

25 Doerschuk, Bob. “Suzanne Ciani & Her Apprentices Set the Pace of Commercial Synthesis.” Keyboard Apr. 1985: 16-17, 27-30. Web. 2 Feb. 2013.

Epstein, Helen. “The Cello Can't Play These Chords.” The New York Times 21 July 1974: 93. Web. 25 Nov. 2010.

Fantel, Hans. “Newcomers Seek Admission to the Family of Instruments.” New York Times 19 Aug. 1984: A.19. Web. 2 Feb. 2013. Fortner, Stephen. “Suzanne Ciani: Advent of the Modern Sound Designer.” Keyboard Sep. 2012: 18. Web. 2 Feb. 2013. Franus, Noel. “Sound Foundations.” Brand Strategy Dec. 2008 / Jan. 2009: 52-3. Web. 21 Oct. 2013.

Georgopoulos, Alexis. “Suzanne Ciani.” ANP Quarterly 11 Mar. 2013: 28-33. Web. 11 Oct. 2013. Graakjær, Nikolai, and Christian Jantzen. Music in Advertising: Commercial Sounds in Media Communication and Other Settings. Budapest: Akadémiai Kiadó, 2009. Print. Greenwald, Ted. “Are They Playing Our Song?” Back Stage 29 Apr. 1988: 16B, 18B. Web. 4 Feb. 2013. Griffiths, Paul. A Guide to Electronic Music. New York: Thames and Hudson, 1979. Print. Grigsby, Beverly. “Women Composers of Electronic and Computer Music in the United States.” The Musical Woman 1983: 151-96. Print.

“High Notes: Ciani.” Back Stage 30 Sep. 1977: 16. Web. 2 Feb. 2013. Hinkle-Turner, Elizabeth. Women Composers and Music Technology in the United States: Crossing the Line. Burlington, VT: Ashgate, 2006. Print. Holmes, Thomas B. Electronic and Experimental Music. New York: Charles Scribner’s Sons, 1985. Print. Holmes, Thom. Electronic and Experimental Music: Second Edition — Pioneers in Technology and Composition. New York and London: Routledge, 2002. Print. Holmes, Thom. Electronic and Experimental Music: Third Edition — Technology, Music, and Culture. The Scribner Music Library. New York: Scribner's, 2008. Google Books. Web. 11 Oct. 2013. “Horelick’s Sound Clicks.” Back Stage 21 May 1982: 30. Web. 7 Apr 2013. Hutton, Jo. “Daphne Oram: Innovator, Writer and Composer.” Organised Sound Apr. 2003: 49-56. Web. 21 Aug. 2013. Hyder, William. “Television’s Music Man.” The Baltimore Sun 17 Apr. 1966: TV8. Web. 2 Feb. 2013. Hyder, William. “Many Innovations by Siday in Electronic Music.” The Baltimore Sun 24 Apr. 1966: TVW3. Web. 2 Feb 2013.

26 “Identitone’s [sic] I.D.’s Good for ‘Rock’ or ‘Talk’ Stations.” Back Stage 28 Oct. 1966: 9. Web. 2 Feb. 2013.

Jackson, Daniel M. Sonic Branding: An Introduction. Basingstoke: Palgrave Macmillan, 2004. Print. Kaselow, Joseph. “Along Madison Avenue With Kaselow.” New York Herald Tribune, 19 July 1960: 34. Web. 13 Oct. 2013. Kettlewell, Ben. Electronic Music Pioneers. Vallejo, CA: ProMusic Press, 2002. Print. Kiley, David. “Fine-Tuning a Brand’s Signature Sound.” Business Week 13 Aug. 2007: 56. Web. 21 Aug. 2013. Klein, Naomi. No Logo: 10th Anniversary Edition. New York: Picador, 2009. Print. Krause, Bernie. Into a Wild Sanctuary: A Life in Music and Natural Sound. Berkeley: Heyday, 1998. Print.

Levinsohn, Craig. “Steve Horelick is an Artist at Creating Synthesized Sounds.” Back Stage 23 Apr. 1982: 65. Web. 7 Apr. 2013.

Manning, Peter. Electronic and Computer Music. Oxford: Clarendon Press, 1987. Print. Manning, Peter. Electronic and Computer Music: Fourth Edition. Oxford: Oxford University Press, 2013. Print. Manning, Peter. “The Oramics Machine: From Vision to Reality.” Organised Sound Aug. 2012: 137-147. Web. 21 Sep. 2013. Masello, Robert. “Glugs, Blinx, and Phantom Violins.” New York 11 June 1979: 100. Web. 14 Oct. 2013. McCartney, Andra. “Gender, Genre and Electroacoustic Soundmaking Practices.” Intersections: Canadian Journal of Music 2006: 20-48. Web. 21 Aug 2013. McDougal, Dennis. “Back to the Synthesizer for Suitable Radio Logo.” Los Angeles Times 2 June, 1984: F2. Web. 7 Apr. 2013. McGovern, Chris. “Good To Know It Wasn’t Just Me.” The Glass. WordPress, 13 Apr. 2011. Web. 11 Oct. 2013. McGovern, Chris. “Rodney Ascher ~ on The S From Hell.” The Glass. WordPress, 8 July 2012. Web. 11 Oct. 2013. McLean, Robert A. “Ad-Ventures.” Boston Globe 15 Dec. 1982: 1. Web. 7 Apr. 2013. McMahan, Harry W. “Raymond Scott’s ‘Sounds Electronique’ Accents New Emphasis on Audio.” Advertising Age 16 Apr. 1962: 119-22. Web. 9 Oct. 2013. Milano, Dominic. “Bernie Krause: A Synthesizer Pioneer Looks Backward and Forward.” Keyboard Dec. 1981: 8. Print. Milano, Dominic. “Suzanne Ciani: Supplying Synthesized Seasoning for Radio & TV Commercials, Movies, & Records.” Contemporary Keyboard June 1979: 32-46. Web. 2 Feb. 2013.

27 “New Identitones Package.” Broadcasting 18 Nov. 1968: 66. Web. 2 Feb. 2013. “New ‘Image-Builder’ for Clients and Stations.” Sponsor 31 Oct. 1966: 44-5. Print. “A New Sound.” Broadcasting 31 Oct. 1966: 76. Web. 2 Feb. 2013.

Palghat, Vijaykumar Krishnan. Hearing, Remembering, and Branding: Guidelines for Creating Sonic Logos. Diss. University of Cincinnati, 2009. Ann Arbor: UMI, 2009. Web. 18 Nov. 2010. “Patchworks Rocks for Midas.” Back Stage 9 May 1980: 21. Web. 7 Apr. 2013. “Patchworks Works for Atari.” Back Stage 2 Feb. 1983: 24. Web. 7 Apr. 2013. Pinch, Trevor J. “Technology and Institutions: Living in a Material World.” Theory and Society 2008: 461-83. Web. 23 Nov. 2010.

Pinch, Trevor J., and Karin Bijsterveld. “‘Should One Applaud?’: Breaches and Boundaries in the Reception of New Technology in Music.” Technology and Culture 2003: 536-59. Web. 18 Nov. 2010. Pinch, Trevor J and Frank Trocco. Analog Days : The Invention and Impact of the Moog Synthesizer. Cambridge, MA: Harvard University Press, 2002. Print. Pinch, Trevor J. and Frank Trocco. “Shaping the Synthesizer.” The Sound Studies Reader. Ed. Jonathan Sterne. New York: Routledge, 2012. 254-264. Print.

"Raymond Scott Sounds Off on Sound." Sponsor 5 Oct., 1964: 42-4. Print. Rhea, Thomas. Interview by Irwin Chusid. Liner notes. Raymond Scott. Manhattan Research, Inc. Basta, 2000. CD. 88-89. Richards, Chris. “Retrospective revisits Ciani’s new-age beeps.” Washington Post 26 Feb. 2012: EZ.3. Web. 2 Feb. 2013. “Robert Kahn Searches for ‘Texture’ in Creating Music for Commercials.” Back Stage 15 Sep. 1989: 40. Web. 7 Apr. 2013. Roberts, Randall. “Synthesizer pioneer Suzanne Ciani traces her plugged-in path.” Los Angeles Times 6 Mar. 2012: D.3. Web. 2 Feb. 2013. Romney, Jonathan. “Now that’s what I call white noise.” The Guardian 19 Apr. 2000: A7. Web. 7 Apr. 2013.

Schwartz, Elliott. Electronic Music: A Listener's Guide. New York & Washington: Praeger, 1973. Print. Shabecoff, Philip. “Advertising: Use of Public Relations Rises.” New York Times 27 Aug. 1964: 44. Web. 2 Feb. 2013. Shapiro, Peter, ed. Modulations: A History of Electronic Music: Throbbing Words on Sound. New York: Caipirinha Productions, 2000. Print. Sherman, Howard. “Riding the New Waves.” db July 1982: 28-33. Web. 2 Feb. 2013. Smillie, Dirk. “Now Hear This!” Forbes 25. Dec 2000: 234. Web. 21 Aug. 2013. Stubbs, David. Fear of Music: Why People Get Rothko but Don't Get Stockhausen. Winchester, UK; Washington, D.C.; Blue Ridge Summit, PA: O Books, 2009. Print. 28 “Suzanne Ciani Debuts LP.” Back Stage 9 July 1982: 17. Web. 20 Oct. 2013. "Swurpledeewurpledeezeech!" Time 4 Nov. 1966: 86. Web. 25 Nov. 2010. “Synthesizer Wiz Suzanne Ciani Goes Semi-Solo; Takes Half Credit.” Back Stage 31 July 1987: 41. Web. 20 Oct. 2013. Taylor, Timothy D. “The Avant-Garde in the Family Room: American Advertising and the Domestication of Electronic Music in the 1960s and 1970s.” The Oxford Handbook of Sound Studies. Ed. Trevor Pinch and Karin Bijsterveld. Oxford: Oxford University Press, 2011. 387-408. Print. Taylor, Timothy D. Strange Sounds: Music, Technology & Culture. New York & London: Routledge, 2001. Print. Tonlay, Tom. “Ciani ‘Electrifies’ Comm’l Music Scene.” Back Stage 1 Apr. 1977: 24, 30. Web. 2 Feb. 2013. Tonlay, Tom. “Suzanne Ciani = Ideas & Plans.” Back Stage 21 Apr. 1978: 46. Web. 2 Feb. 2013.

“VH-1 Premieres Suzanne Ciani Music Videos.” Back Stage 12 Dec. 1986: 61. Web. 20 Oct. 2013.

Winner, Jeff E. “The World of Sound: A Division of Raymond Scott Enterprises.” Sound Unbound : Sampling Digital Music and Culture. Ed. Paul D. Miller, a.k.a. DJ Spooky That Subliminal Kid. Cambridge, Mass.: MIT Press, 2008. 181-202. Print. Winner, Jeff and Irwin Chusid. “Circle Machines and Sequencers.” Electronic Musician Dec. 2000: 94-106. Web. 21 Sep. 2013.

Works Cited (Archives)

“Eric Siday Archive, 1890-1976.” New York Public Library, New York, NY. “Raymond Scott Collection.” LaBudde Special Collections, University of Missouri, Kansas City, MO.

Works Cited (Web Sites)

The S From Hell: The Shocking, True Story of the Most Terrifying Logo of All Time. n.p., 2009. Web. 11 Oct. 2013 Suzanne Ciani. Seventh Wave Productions, 2013. Web. 11 Oct. 2013.

29 Works Cited (Recordings)

Ciani, Suzanne. Lixiviation: Ciani/Musica Inc. 1969-1985. B-Music/Finders Keepers, 2011. CD. “Identitones Demo.” Media Preservation Foundation Collection. Reelradio, n.d. Web. 25 Nov. 2010. Oram, Daphne. Oramics. Paradigm Discs, 2007. CD. Scott, Raymond. Manhattan Research, Inc. Basta Music, 2000. CD. Siday, Eric. Sounds of Now. Berry Music, 1971. LP.

30 Appendix: Back Stage Reports on Ciani’s Career

1976 “Ciani Scores: ‘General Motors Goals.’” Back Stage 12 Nov. 1976: 17. Web. 20 Oct. 2013.

1977 “Gold & Silver for Ciani.” Back Stage 7 Jan. 1977: 8. Web. 20 Oct. 2013. “Ciani: Artist at Work.” Back Stage 14 Jan. 1977: 10. Web. 20 Oct. 2013. “Ciani...Catch That Character.” Back Stage 11 Mar. 1977: 9. Web. 20 Oct. 2013. “Ciani at the U.N.” Back Stage 24 June 1977: 35. Web. 2 Feb. 2013. “Ciani’s Futuristic Score” Back Stage 1 July 1977: 10. Web. 20 Oct. 2013. “Papermate’s With Ciani.” Back Stage 7 Oct. 1977: 7. Web. 2 Feb. 2013. “Ciani for Excedrin II.” Back Stage 7 Oct. 1977: 16. Web. 2 Feb. 2013. “Ciani/Pepsi: New Arrangement.” Back Stage 21 Oct. 1977: 14. Web. 20 Oct. 2013. “Ciani Captures R2D2.” Back Stage 28 Oct. 1977: 5. Web. 20 Oct. 2013. “Ciani for Kaiser Aluminum.” Back Stage 16 Dec. 1977: 10. Web. 20 Oct. 2013.

1978 “Ciani Sounds Cereals.” Back Stage 31 Mar. 1978: 7. Web. 2 Feb. 2013. “Ciani & Messina Cooking.” Back Stage 31 Mar. 1978: 15. Web. 2 Feb. 2013. “Ciani Goes 25,000 Mobil Miles.” Back Stage 21 Apr. 1978: 42. Web. 2 Feb. 2013. “Ciani Goes Greyhound.” Back Stage 2 June 1978: 5. Web. 20 Oct. 2013. “Ciani Hits Bottom.” Back Stage 23 June 1978: 56. Web. 20 Oct. 2013. “Ciani on the Ponderosa.” Back Stage 23 June 1978: 70. Web. 20 Oct. 2013. “Ciani Cuts Micro Job.” Back Stage 18 Aug. 1978: 14. Web. 20 Oct. 2013. “Big Pix Goes to Ciani.” Back Stage 18 Aug. 1978: 20 Web. 20 Oct. 2013. “Ciani Plays Atari Games.” Back Stage 10 Nov. 1978: 6. Web. 4 Feb. 2013. “Ciani’s Good Time.” Back Stage 15 Dec. 1978: 20. Web. 20 Oct. 2013. “Ciani Repairs Time/Life.” Back Stage 27 Oct. 1978: 9. Web. 20 Oct. 2013. “Ciani for Gardisette.” Back Stage 3 Nov. 1978: 10. Web. 20 Oct. 2013. “Ciani Drills for B&D.” Back Stage 8 Dec. 1978: 6. Web. 20 Oct. 2013. “Ciani Computes for Bulova.” Back Stage 8 Dec. 1978: 16. Web. 20 Oct. 2013.

1979 “Ciani Plays for Dupont.” Back Stage 4 May 1979: 13. Web. 20 Oct. 2013. “Ciani Whips Up Cool Spot.” Back Stage 28 Sep. 1979: 8. Web. 2 Feb. 2013. “Ciani Makes Up for Maybelline.” Back Stage 14 Dec. 1979: 11. Web. 20 Oct. 2013.

31 1980 “Ciani Designs New Voice Box.” Back Stage 4 Jan. 1980: 4. Web. 2 Feb. 2013. “Ciani Aids Blue Cross.” 4 Jan. 1980: 7. Web. 20 Oct. 2013. “Lucky Thirteen Logo by Ciani.” 4 Jan. 1980: 11. Web. 20 Oct. 2013. “Ciani Sonically Guides Drill.” 11 Jan. 1980: 13. Web. 20 Oct. 2013. “Coke and a Smile.” Back Stage 18 Jan. 1980: 25. Web. 20 Oct. 2013. “Ciani Sizzles with Spot.” Back Stage 1 Feb. 1980: 26. Web. 20 Oct. 2013. “Ciani Adds to the Mystery.” Back Stage 8 Feb. 1980: 19. Web. 20 Oct. 2013. “Ciani Cements Denture Spot.” Back Stage 7 Mar. 1980: 9. Web. 20 Oct. 2013. “Ciani Pulls the Trigger.” Back Stage 14 Mar. 1980: 30. Web. 20 Oct. 2013. “Ciani Goes Fishing.” Back Stage 4 Apr. 1980: 11. Web. 2 Feb. 2013. “Ciani Does Safety Waltz.” Back Stage 11 Apr. 1980: 35. Web. 2 Feb. 2013. “Ciani Rings Her Bell.” Back Stage 18 Apr. 1980: 6. Web. 2 Feb. 2013. “Ciani Keeps on Her Toes.” Back Stage 11 July 1980: 8. Web. 20 Oct. 2013. “Ciani Tunes Arden, NBC.” Back Stage 5 Dec. 1980: 12. Web. 20 Oct. 2013. “Ciani for Lincoln Mercury.” Back Stage 12 Dec. 1980: 33. Web. 20 Oct. 2013. “Ciani Bullish on Merrill Lynch.” Back Stage 19 Dec. 1980: 21. Web. 20 Oct. 2013.

1981 “Ciani Scores for Cougar.” Back Stage 20 Feb. 1981: 8. Web. 20 Oct. 2013. “Ciani Rocks for Uniroyal.” Back Stage 17 Apr. 1981: 31. Web. 20 Oct. 2013. “Ciani Dazzles ‘Wonderama.’” Back Stage 24 Apr. 1981: 29. Web. 20 Oct. 2013. “Ciani Scores for Discover.” Back Stage 8 May 1981: 9. Web. 20 Oct. 2013. “Ciani Beeps for GE.” Back Stage 22 May 1981: 14. Web. 20 Oct. 2013. “Ciani Touch for Johnnie Walker.” Back Stage 5 June 1981: 21. Web. 20 Oct. 2013. “Ciani a Scream for Marriott.” Back Stage 26 June 1981: 19. Web. 20 Oct. 2013. “Ciani Scores With Clios.” Back Stage 3 July 1981: 12. Web. 2 Feb. 2013. “Ciani Shoots High for Eastern.” Back Stage 3 July 1981: 18. Web. 20 Oct. 2013. “Ciani Cuts Camaro.” Back Stage 10 July 1981: 8. Web. 20 Oct. 2013. “Ciani Rides Crest.” Back Stage 7 Aug. 1981: 15. Web. 20 Oct. 2013. “Ciani Rides New Wave for Best.” Back Stage 21 Aug. 1981: 17. Web. 20 Oct. 2013. “Ciani Allures for Olay.” Back Stage 28 Aug. 1981: 27. Web. 2 Feb. 2013. “Ciani Refreshes Citrus Campaign.” Back Stage 4 Sep. 1981: 19. Web. 20 Oct. 2013. “Ciani Makes Time for Bulova.” Back Stage 11 Sep 1981: 25. Web. 20 Oct. 2013. “Ciani Harmonizes for GE.” Back Stage 18 Sep. 1981: 12. Web. 20 Oct. 2013. “Ciani Pops & Fizzes in Mexico.” Back Stage 25 Sep. 1981: 25. Web. 20 Oct. 2013. “Ciani Strikes Magnavox Chords.” Back Stage 23 Oct. 1981: 25. Web. 20 Oct. 2013. “Ciani Restrings for Pearlcorder.” Back Stage 30 Oct. 1981: 24. Web. 20 Oct. 2013. “Alexander’s Breaks First B’cast Campaign.” Back Stage 30 Oct. 1981: 31. 20 Oct. 2013. “Ciani Goes 24 Track.” Back Stage 13 Nov. 1981: 15. Web. 20 Oct. 2013. “Ciani Delivers for Puralator.” Back Stage 20 Nov. 1981: 25. Web. 20 Oct. 2013.

32 “Ciani Ups Halbert.” Back Stage 27 Nov. 1981: 18. Web. 20 Oct. 2013. “Ciani Scores Hit for Atari.” Back Stage 25 Dec. 1981: 14. Web. 20 Oct. 2013.

1982 “Ciani’s in Style for Alexander’s.” Back Stage 1 Jan 1982: 16. Web. 20 Oct. 2013. “Ciani is Kind to Clairol.” Back Stage 8 Jan 1982: 16. Web. 20 Oct. 2013. “Ciani Refreshes for Ovaltine.” Back Stage 22 Jan 1982: 21. Web. 20 Oct. 2013. “Zeplin Gives ‘Zap’ to MOCAP.” Back Stage 29 Jan 1982: 19. Web. 20 Oct. 2013. “Ciani Lights Up Chevrolet.” Back Stage 12 Mar. 1982: 28. Web. 20 Oct. 2013. “Ciani Keeps Time for ESPN Cable.” Back Stage 19 Mar. 1982: 22. Web. 20 Oct. 2013. “Ciani Encores for Atari.” Back Stage 26 Mar. 1982: 26. Web. 2 Feb. 2013. “Ciani Sounds Off for Clairol.” Back Stage 2 Apr. 1982: 28. Web. 20 Oct. 2013. “Ciani Rocks for Showtime.” Back Stage 9 Apr. 1982: 24. Web. 20 Oct. 2013. “Ciani’s Sweet on Skittles.” Back Stage 16 Apr. 1982: 26. Web. 20 Oct. 2013. “Ciani Goes National for Chevy.” Back Stage 30 Apr. 1982: 22. Web. 2 Feb. 2013. “Ciani Pursues Ty-D-Bol.” Back Stage 7 May 1982: 29. Web. 20 Oct. 2013. “Ciani ‘Plumps’ for Ball Park.” Back Stage 14 May 1982: 42. Web. 20 Oct. 2013. “Ciani Cares for Almay.” Back Stage 21 May 1982: 30. Web. 2 Feb. 2013. “Ciani’s Sharp for Solo.” Back Stage 28 May 1982: 26. Web. 20 Oct. 2013. “Ciani Encores Fla. Citrus.” Back Stage 4 June 1982: 42. Web. 20 Oct. 2013. “Ciani is Flexible for Lycra Spots.” Back Stage 11 June 1982: 22. Web. 20 Oct. 2013. “Carteret Counts on Ciani.” Back Stage 18 June 1982: 32. Web. 20 Oct. 2013. “Ciani Composes For Prince Tennis.” Back Stage 25 June 1982: 24. Web. 2 Feb. 2013. “Ciani Enters New Season.” Back Stage 2 July 1982: 18. Web. 20 Oct. 2013. “Suzanne Ciani Debuts LP.” Back Stage 9 July 1982: 17. Web. 20 Oct. 2013. “Ciani Gives Heavenly Touch.” Back Stage 30 July 1982: 20. Web. 20 Oct. 2013. “Friedman Orbits for Rockwell.” Back Stage 13 Aug 1982: 16. Web. 20 Oct. 2013. “Ciani Reveals Carefree Secret.” Back Stage 24 Sep 1982: 22. Web. 20 Oct. 2013. “Ciani Educates Alexander’s.” Back Stage 1 Oct 1982: 20. Web. 20 Oct. 2013. “Ciani/Musica Adds Equipment.” Back Stage 8 Oct. 1982: 24. Web. 20 Oct. 2013. “AT&T Calls on Ciani for Music.” Back Stage 29 Oct. 1982: 26. Web. 20 Oct. 2013. “Ciani Orchestrates New Firestone Campaign.” Back Stage 5 Nov. 1982: 56. Web. 2 Feb. 2013. “Del Monte a la Ciani.” Back Stage 26 Nov. 1982: 18. Web. 20 Oct. 2013. “Bell Calls on Digital for Logo.” Back Stage 10 Dec 1982: 26. Web. 20 Oct. 2013. “Ciani Shines for Colgate-Palmolive.” Back Stage 24 Dec. 1982: 26. Web. 2 Feb. 2013. “Ciani Creates Atari Logo With Electronic Sounds.” Back Stage 31 Dec. 1982: 16. Web. 2 Feb. 2013.

33 1983 “Ciani’s Seven Waves to Important Records.” Back Stage 21 Jan. 1983: 28. Web. 2 Feb. 2013. “Computers Become State-of-the-Arts.” Back Stage 25 Feb. 1983: 105. Web. 20 Oct. 2013. “Fidelity Banks on Ciani.” Back Stage 11 Mar. 1983: 26. Web. 20 Oct. 2013. “Ciani Musica Banks on Chemical.” Back Stage 25 Mar. 1983: 38. Web. 20 Oct. 2013. “Ciani Gets Funky.” Back Stage 25 Mar. 1983: 38. Web. 20 Oct. 2013. “Ciani/Musica on Tap for Barq’s.” Back Stage 8 Apr. 1983: 42. Web. 20 Oct. 2013. “Ciani Id’s ‘Business Times.’” Back Stage 29 Apr. 1983: 28. Web. 20 Oct. 2013. “Ciani’s In Step for Thom McAn.” Back Stage 6 May 1983: 57. Web. 20 Oct. 2013. “Ciani Breaking Through for Sprite.” Back Stage 13 May 1983: 74. Web. 20 Oct. 2013. “Ciani Melodic for Arden.” Back Stage 27 May 1983: 26. Web. 20 Oct. 2013. “Ciani Produces ‘Alien’ Vocals.” Back Stage 2 June 1983: 48. Web. 20 Oct. 2013. “Elizabeth Arden Lip-Fix on Jay Gold.” Back Stage 2 June 1983: 64. Web. 20 Oct. 2013. “Ciani & Zeplin Team for Clios.” Back Stage 10 June 1983: 36. Web. 20 Oct. 2013. “Ciani at Synclavier II Seminar.” Back Stage 17 June 1983: 40. Web. 20 Oct. 2013. “Ciani Scores ‘Clean Room.’” Back Stage 24 June 1983: 42. Web. 2 Feb. 2013. “Ciani Designs Hanes Music.” Back Stage 1 July 1983: 16. Web. 2 Feb. 2013. “Ciani Scores DHL.” Back Stage 8 July 1983: 22. Web. 20 Oct. 2013. “Ciani Enhances General Electric.” Back Stage 15 July 1983: 32. Web. 20 Oct. 2013. “Ciani Bullish For Merrill Lynch.” Back Stage 22 July 1983: 28. Web. 2 Feb. 2013. “Ciani Finishes ‘Inside Story.’” Back Stage 5 Aug. 1983: 28. Web. 20 Oct. 2013. “Ciani Scores Olde English 800.” Back Stage 12 Aug. 1983: 28. Web. 20 Oct. 2013. “Ciani Composes Klorane Pastorale.” Back Stage 26 Aug. 1983: 54. Web. 2 Feb. 2013. “Ciani Replaces Woosh With Whizzy.” Back Stage 2 Sep. 1983: 16. Web. 2 Feb. 2013. “Ciani Does Kodak Spot.” Back Stage 9 Sep. 1983: 28. Web. 20 Oct. 2013. “Ciani Accents Diet-Pepsi.” Back Stage 7 Oct. 1983: 24. Web. 20 Oct. 2013. “Ciani’s Up Beat for ‘The Room.’” Back Stage 21 Oct. 1983: 31. Web. 20 Oct. 2013. “Ciani Lights Up GE Silicone II.” Back Stage 21 Oct. 1983: 32. Web. 2 Feb. 2013. “Ciani Revs Up Lincoln/Mercury.” Back Stage 11 Nov. 1983: 42. Web. 2 Feb. 2013. “Ciani Sweetens Phone Booth Spot.” Back Stage 9 Dec. 1983: 60. Web. 20 Oct. 2013. “Ciani Ushers in Clairol’s ‘New Era.’” Back Stage 16 Dec. 1983: 44. Web. 20 Oct. 2013. “CMA Crew Tapes Ciani Session.” Back Stage 23 Dec. 1983: 42. Web. 20 Oct. 2013. “Ciani Creates Aura for Chloe Fragrance.” Back Stage 30 Dec. 1983: 18. Web. 20 Oct. 2013.

1984 “Ciani Orchestrates ‘Falling Slice.’” Back Stage 6 Jan. 1984: 43. Web. 2 Feb. 2013. “Ciani ‘Beeps Again’ for GE Spot.” Back Stage 6 Jan. 1984: 50. Web. 2 Feb. 2013. “Ciani Highlights Continental Spot.” Back Stage 27 Jan. 1984: 40. Web. 2 Feb. 2013. “Ciani Plays For Nintendo Games.” Back Stage 27 Jan. 1984: 44. Web. 2 Feb. 2013. “Ciani Scores N.O. Golf Spot.” Back Stage 10 Feb. 1984: 36. Web. 2 Feb. 2013. “Ciani Scores for NY State Lottery.” Back Stage 2 Mar. 1984: 36. Web. 2 Feb. 2013.

34 “Ciani Scores for Merrill Lynch.” Back Stage 9 Mar. 1984: 29. Web. 20 Oct. 2013. “Ciani Scores for ITT Campaign.” Back Stage 16 Mar. 1984: 36. Web. 20 Oct. 2013. “WCBS TV Covers Ciani Session.” Back Stage 23 Mar. 1984: 49. Web. 20 Oct. 2013. “Ciani Scores for Rayovac.” Back Stage 23 Mar. 1984: 56. Web. 2 Feb. 2013. “Ciani Tunes In For Black & Decker.” Back Stage 13 Apr. 1984: 38. Web. 2 Feb. 2013. “Ciani Makes Dials’ ‘Big Splash.’” Back Stage 20 Apr. 1984: 42. Web. 2 Feb. 2013. “The Exotic Side of Brenckman and Ciani.” Back Stage 27 Apr. 1984: 58. Web. 20 Oct. 2013. “Ciani Has Ear on Eye-Fix.” Back Stage 1 June 1984: 66. Web. 2 Feb. 2013. “Ciani Goes National for Russ Togs.” Back Stage 8 June 1984: 56. Web. 20 Oct. 2013. “Ciani Weaves ‘Exotic’ Score.” Back Stage 15 June 1984: 50. Web. 20 Oct. 2013. “Ciani Creates Gridiron Tones.” Back Stage 15 June 1984: 52. Web. 20 Oct. 2013. “Ciani Sets Tone For Advanced Dial.” Back Stage 6 July 1984: 41. Web. 2 Feb. 2013. “Ciani Garners Clio For GE ‘Beep’ Music.” Back Stage 27 July 1984: 42. Web. 2 Feb. 2013. “Ciani Performs for Kraft.” Back Stage 3 Aug. 1984: 37. Web. 20 Oct. 2013. “Atlantic to Distribute Ciani’s New Lp.” Back Stage 10 Aug. 1984: 43. Web. 20 Oct. 2013. “Comerica of Detroit Banks on Ciani.” Back Stage 17 Aug. 1984: 32. Web. 20 Oct. 2013. “Ciani/Musica Falls in for The Gap.” Back Stage 31 Aug. 1984: 6. Web. 20 Oct. 2013. “Ciani, Avon Salute the Lady.” Back Stage 7 Sep. 1984: 53. Web. 20 Oct. 2013. “Ciani Handles Three Styles.” Back Stage 14 Sep. 1984: 67. Web. 20 Oct. 2013. “Suzanne Ciani Slips into Hanes.” Back Stage 28 Sep. 1984: 74. Web. 2 Feb. 2013. “Johnson Controls Buoyed by Ciani/Musica.” Back Stage 5 Oct. 1984: 70. Web. 20 Oct. 2013. “Ciani/Musica Takes Tempo Seriously.” Back Stage 12 Oct. 1984: 74. Web. 2 Feb. 2013. “Ciani Computers for Adam Campaign.” Back Stage 9 Nov. 1984: 62. Web. 20 Oct. 2013. “Ciani/Musica Answers G.E.’s Mobile Phone.” Back Stage 7 Dec. 1984: 86. Web. 20 Oct. 2013. “Ciani Continues Campaign for Arden.” Back Stage 21 Dec. 1984: 74. Web. 20 Oct. 2013. “Ciani Creates Beep Bop for GE.” Back Stage 28 Dec. 1984: 22. Web. 20 Oct. 2013.

1985 “Ciani Captures Volkswagen for European TV.” Back Stage 4 Jan. 1985: 28. Web. 20 Oct. 2013. “Ciani for Cover Girl.” Back Stage 11 Jan. 1985: 40. Web. 20 Oct. 2013. “Ciani Melts Butter for SSC&B.” Back Stage 18 Jan. 1985: 59. Web. 2 Feb. 2013. “Ciani Creates KCBS Package.” Back Stage 25 Jan. 1985: 78. Web. 20 Oct. 2013. “Ciani IDs ESPN’s Management Series.” Back Stage 15 Feb. 1985: 54. Web. 20 Oct. 2013. “Ciani Composition Debuts in Keyboard.” Back Stage 22 Feb. 1985: 70. Web. 20 Oct. 2013. “Ciani Selected Roland’s Keynote Speaker.” Back Stage 8 Mar. 1985: 49. Web. 20 Oct. 2013. “Ciani Scores for Sony’s New XBR.” Back Stage 29 Mar. 1985: 74. Web. 2 Feb. 2013. “Ciani for Aziza.” Back Stage 12 Apr. 1985: 68. Web. 20 Oct. 2013. “Ciani/Musica Underscores for Y&R.” Back Stage 26 Apr. 1985: 60. Web. 20 Oct. 2013. “Ciani Reprises Musical IDs for L.A. TV.” Back Stage 26 July 1985: 62. Web. 2 Feb. 2013.

35 “Ciani Targets Toys to Baby Boomers.” Back Stage 7 June 1985: 54. Web. 20 Oct. 2013. “Ciani/Musica Scores Pine Power Pair.” Back Stage 21 June 1985: 62. Web. 20 Oct. 2013. “Ciani’s ‘Seven Waves’ Flows Along Airwaves.” Back Stage 2 Aug. 1985: 8. Web. 20 Oct. 2013. “Sebesky Scores Sizzling Summer.” Back Stage 2 Aug. 1985: 36. Web. 20 Oct. 2013. “Ciani’s Synthesizers Roar Through Space.” Back Stage 30 Aug. 1985: 33. Web. 20 Oct. 2013. “Dissimilar Sounds of Music Arise from Ciani’s Studio.” Back Stage 20 Sep. 1985: 48. Web. 20 Oct. 2013. “Ciani/Musica Has New Encore in ‘Son of Beep.’” Back Stage 11 Oct. 1985: 73. Web. 2 Feb. 2013. “Sweet Sounds for Pepsi/Light Bubble Out of Ciani/Musica.” Back Stage 18 Oct. 1985: 6. Web. 2 Feb. 2013. “Ciani Designs Jeans Themes.” Back Stage 18 Oct. 1985: 55. Web. 20 Oct. 2013. “Ciani Extracts Futuristic Music.” Back Stage 25 Oct. 1985: 57. Web. 20 Oct. 2013. “Chevrolet Tunes Up With Ciani Musica.” Back Stage 8 Nov. 1985: 60. Web. 20 Oct. 2013. “Ciani/Musica Centers on Madison Square For New Studio.” Back Stage 6 Dec. 1985: 83. Web. 2 Feb. 2013.

1986 “Ciana/Musica [sic] Lands Texas Instruments.” Back Stage 24 Jan. 1986: 64. Web. 20 Oct. 2013. “Ciani/Musica Augments Emotion for AT&T.” Back Stage 28 Mar. 1986: 63-4. Web. 20 Oct. 2013. “Ciani/Musica’s Lax Caps vs. Ex Lax.” Back Stage 4 Apr. 1986: 50. Web. 20 Oct. 2013. “Ciani/Musica Frees Pepsi.” Back Stage 11 Apr. 1986: 53. Web. 20 Oct. 2013. “Ciani to Perform at Electronic Theater Gala.” Back Stage 16 May 1986: 51, 61. Web. 20 Oct. 2013. “Ciani Envelopes Elizabeth Arden.” Back Stage 6 June 1986: 53. Web. 20 Oct. 2013. “Ciani Musicalizes Olympus E.S.P.” Back Stage 20 June 1986: 58. Web. 2 Feb. 2013. “Ciani Polishes Cutex Nails.” Back Stage 20 June 1986: 65. Web. 20 Oct. 2013. “Ciani Appears on P.M. Magazine.” Back Stage 8 Aug. 1986: 44. Web. 20 Oct. 2013. “Ciani/Musica Ushers in AT&T Typewriters.” Back Stage 29 Aug. 1986: 50. Web. 20 Oct. 2013. “Ciani Addresses University of Chicago Seminar.” Back Stage 12 Sep. 1986: 57. Web. 20 Oct. 2013. “Ciani/Musica’s Farber Scores for Sargento Cheese Spots.” Back Stage 26 Sep. 1986: 55. Web. 20 Oct. 2013. “Ciani/Musica Comforts Steelcase.” Back Stage 10 Oct. 1986: 69. Web. 20 Oct. 2013. “Ciani/Musica Performs for AT&T Watts Lines.” Back Stage 17 Oct. 1985: 51. Web. 20 Oct. 2013. “Ciani/Musica Names Marina Belica VP.” Back Stage 24 Oct. 1985: 22. Web. 20 Oct. 2013. “Ciani/Musica Munches on Doritos.” Back Stage 31 Oct. 1986: 48. Web. 20 Oct. 2013. 36 “Ciani/Musica Takes Flight For American Airlines.” Back Stage 28 Nov. 1986: 32. Web. 2 Feb. 2013. “Sound Designer Jean-Marie Salaun Now Available Through Ciana/Musica [sic].” Back Stage 5 Dec. 1986: 4. Web. 20 Oct. 2013. “VH-1 Premieres Suzanne Ciani Music Videos.” Back Stage 12 Dec. 1986: 61. Web. 20 Oct. 2013.

1987 “Ciani/Musica Names Sommer Production Coordinator.” Back Stage 2 Jan. 1987: 26. Web. 20 Oct. 2013. “Alien Sounds for Campbell’s from Ciani/Musica.” Back Stage 9 Jan. 1987: 59. Web. 20 Oct. 2013. “Ciani/Musica Ticks for WCBS-TV ‘News at Noon.’” Back Stage 30 Jan. 1987: 37. Web. 20 Oct. 2013. “Ciani/Musica Introduces Bausch & Lomb Eyedrops.” Back Stage 6 Feb. 1987: 41. Web. 20 Oct. 2013. “Ciani (Roxy) Musica for Jean Nate.” Back Stage 13 Feb. 1987: 38. Web. 20 Oct. 2013. “Ciani/Musica Beautifies Noxzema.” Back Stage 13 Feb. 1987: 59. Web. 20 Oct. 2013. “Ciani/Musica’s Sommer & Kahn on NBC’s ‘Today.’” Back Stage 20 Feb. 1987: 45. Web. 20 Oct. 2013. “Ciani/Musica Produces Music for WCBS Special.” Back Stage 10 Apr. 1987: 61. Web. 20 Oct. 2013. “Ciani Musica ‘Creatures’ Tracy-Locke.” Back Stage 17 Apr. 1987: 57. Web. 20 Oct. 2013. “Ciani Musica Heats Up for RMD’s Baltimore Gas.” Back Stage 3 July 1987: 33. Web. 20 Oct. 2013. “Synthesizer Wiz Suzanne Ciani Goes Semi-Solo; Takes Half Credit.” Back Stage 31 July 1987: 41. Web. 20 Oct. 2013. “Jones-Rasikas Industrial Films are Award Winners.” Back Stage 28 Aug. 1987: 16. Web. 20 Oct. 2013. “Ciani/Musica Creates Mayan Sound for an Upcoming PBS Documentary.” Back Stage 20 Nov. 1987: 61. Web. 20 Oct. 2013. “Ciani/Musica Delivers ‘Powerful’ Cleveland Electric Jingle for L-S.” Back Stage 27 Nov. 1987: 41. Web. 20 Oct. 2013.

1988 “Ciani/Musica Puts Beat to Duracell for Ogilvy & Mather.” Back Stage 12 Feb. 1988: 42. Web. 20 Oct. 2013. “Terri Gold Named Client Services Director for Ciani/Musica.” Back Stage 5 Aug. 1988: 44. Web. 20 Oct. 2013. “Ciani Musica Composes for D.C.A and IBM/Sears Logo.” Back Stage 30 Sep. 1988: 60. Web. 20 Oct. 2013.

37 “Ciani/Musica Scores for HT Champagne.” Back Stage 2 Sep. 1988: 47. Web. 20 Oct. 2013.

1989 “Ciani Designs Sound Logo for AT&T, Y&R.” Back Stage 1 Dec. 1989: 46. Web. 20 Oct. 2013.

38