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03 Electronic Music Student Copy MSM CPP Survey EC 3. Electronic Music I: Roots Themes: Continuation of the project of assimilating new sounds into music Exploration of extreme aesthetic territories Music as a terrain that grows through invention and research “The present age, with its fertile agitation, its incredible social injustices, its portentous scientific development, is perfecting, in electricity, its own organ of expression, its own voice. This, clarified and matured, will become the legitimate art of our era, the art of today.” Carlos Chavez, Toward a New Music: Music and Electricity (1937) Inventors and Inventions 1759 Jean-Baptiste Delabord invents Clavecine Électrique, a type of carillon – a keyboard activating hanging bells with static electricity. 1867 Matthias Hipp invents Electromechanical Piano, in which the keys activate electromagnets that activate Dynamos – small electric sound generators. 1897 Thaddeus Cahill invents Telharmonium (aka Dynamophone), a 200 ton, 60 foot long, $200k instrument that occupied an entire floor at 39th and Broadway for 20 years. 36 notes per octave (Cahill was a Just Intonation guy). There is no amplification yet, so the only way you could hear it was over a telephone line. “Cahill hit upon the idea of centrally performing music and serve it over the phone network to paying subscribers in hotels, railway stations and private houses; a kind of early Victorian audio internet.” (120years.net) Busoni mentions it in his Sketch for a New Esthetic of Music 1922 Leon Theremin invents his eponymous instrument. Clara Rockmore: The Swan 1928 Maurice Mertenot invents the Ondes-Martenot LH had a button to control volume, and right hand slid a ring along a string (along a diagram of a keyboard to tell you where you are). 8 different sounds. Messiaen: Feuillet inedit No. 4 1958 Columbia-Princeton develops RCA MARK II Sound Synthesizer, the first programmable synth. Ussachevsky, Luening, Babbitt, Wuorinen, Halim El-Dabh, and Mario Davidovsky used it. Early 60s — the voltage controlled modular synth: Moog vs. Buchla. 1980s — the personal computer. MSM CPP Survey EC Westdeutscher Rundfunk (WDR), Cologne Karlheinz Stockhausen (1928-2007) Studie I (1953) Gesang der Jünglinge (1955-56) Kontakte (1958-60) for 4 channel tape, piano and percussion “In the preparatory work for my composition Kontakte, I found, for the first time, ways to bring all properties [i.e., timbre, pitch, intensity, and duration] under a single control.” Stockhausen Karl Goeyvaerts (1923-1993): process music Composition No. 4 with Dead Tones (1952) Ligeti (1923-2006): synthetic language Artikulation (1958) “The piece is called 'Artikulation' because in this sense an artificial language is articulated: question and answer, high and low voices, polyglot speaking and interruptions, impulsive outbreaks and humor, charring and whispering… First I chose types [of noise, or artificial phonemes] with various group-characteristics and various types of internal organization, as: grainy, friable, fibrous, slimy, sticky and compact materials. An investigation of the relative permeability of these characters indicated which could be mixed and which resisted mixture.” Ligeti MSM CPP Survey EC Studio di Fonologia Radio, Milan Luciano Berio (1925-2003): voice and language Thema Ommagio a Joyce (1959) Henri Pousseur (1929-2009): open work Scambi (1957) “Scambi is not so much a musical composition as a field of possibilities, an explicit invitation to exercise choice… the general public would be in a position to develop a private musical construct of its own and a new collective sensibility in matters of musical presentation and duration could emerge.” Pousseur “I find it abominable!” Boulez. Radiodiffusion-Télévision Française (RTF), Paris From Concrète to Acousmatic "Acousmatic, adjective: referring to a sound that one hears without seeing the causes behind it” Pierre Schaeffer. "The concealment of the causes does not result from a technical imperfection, nor is it an occasional process of variation: it becomes a precondition, a deliberate placing-in- condition of the subject. It is toward it, then, that the question turns around; "what am I hearing?... What exactly are you hearing" – in the sense that one asks the subject to describe not the external references of the sound it perceives but the perception itself.” Pierre Schaeffer, Treatise on Musical Objects. Francis Dhomont (*1926): alter the senses “I was fourteen at the time and there I was, with a sick eye. I was told to stop all visual activity for the period of one year: leave school, no reading, no cinema, no shows, no sports. I was supposed to live most of my time in darkness, my eyes protected against the light to avoid suffering. Not too attractive for a young kid! In order to be occupied, and as I had always shown some inclination towards music, my parents thought of buying a piano for our house. I started improvising intuitively on that MSM CPP Survey EC instrument, “experimenting” with impetuosity, all day long, in darkness, for several months, using nothing but my ears… After one year, I had lost my right eye but I had found a vocation.” Dhomont in conversation with David Leone, musicalkaleidoscope.wordpress.com Espace/Escape (1989) Signé Dionysos (1986-91) “As with any respectful opera, this work has acts, scenes, tableaux. The plot: “A small Provence lake. After a warm day, the strollers leave, thus returning the lake to its natural hosts. The frogs return, taking hold of the stage and will ‘perform the opera’. Unheard-of, surreal, dilated songs. Naturally, after love, the drama will conclude with death… However, it is only entertainment. But what pleasure to play with this given sonorous generator of innumerable morphologies and also, once again, with the ambiguous ‘music- of-nature/artifices-of-the-studio.’ Truth or lie? Found, processed or constructed sound? All of these delusions confound the ear and, as with wine, alter the senses. This brings us back to Bacchus!” Dhomont, liner notes. François Bayle (*1932): acousmonium Grande Polyphonie (1974) MSM CPP Survey EC “Characterized by a strangely compelling fusion of lush, almost psychedelic timbral excess with an acute sense of form and proportion exemplifying the proverbially French aesthetic of clarté, Bayle creates a sound-world teeming with birdsong-like electronic twitters, bells, gongs, and all manner of resonant bodies joined together in a joyous, childlike clangor.” acousmata.com Luc Ferrari (1929-2005): memory and place Presque Rien: Le Lever du Jour au Bord de la Mer (1970) on spotify playlist as “I. II. III.” Presque Rien avec Files (1973-74) Petite Symphoie Intuitive our un Paysage de Printemps (1973-74) IRCAM Pierre Boulez (1925-2016) Dialogue De L’ombre Double (1985) for solo clarinet and 6 loudspeakers Jonathan Harvey (1939-2012) Bhakti (1982) for 15 instruments at 4 channel tape America John Cage (1912-1992): sound (as/instead of) music Imaginary Landscape No. 1 (1939) for two turntables, frequency test tones, muted piano, cymbal MSM CPP Survey EC Rozart Mix (1965) for live tape loops Cartridge Music (1960) MSM CPP Survey EC Edgard Varèse (1883-1965): the “liberation of sound” “Our musical alphabet is poor and illogical. Music, which should pulsate with life, needs a new means of expression, and science alone can infuse it with youthful vigor… I dream of instruments obedient to my thought and which with their contribution of a whole new world of unsuspected sounds, will lend themselves to the exigencies of my inner rhythm” Varèse (1917) “I was the first composer to explore, so to speak, musical outer space.” (1962) Deserts (1954) “The premiere of the work in December [in Paris] of that year was predictably scandalous, owing not only to the brutally noisy nature of the music–[Pierre] Henry, who was at the mixing board during the playback of the tape pieces, supposedly responded to the unrest in the concert hall by turning up the volume–but also to conductor Hermann Scherchen’s inexplicable pairing of Déserts with Tchaikovsky's Symphony No. 6.” Poème électronique (1958) Milton Babbitt (1916-2011): the perfection of serialism Ensembles for Synthesizer (1962-1964) Philomel (1964) Morton Subotnick (*1933): return to groove Silver Apples of the Moon (1967) Pauline Oliveros (*1932): deep listening Alien Bog (1967) MSM CPP Survey EC Daphne Oram (1925-2003): music from pictures Ascending and Descending Sequences of Varying Nature: Oramics (c. 1959) Paul Lansky (*1944): synthesizing the voice Chatter of Pins from Music Box (2006) Notjustmoreidlechatter from More Than Idle Chatter (1994) MSM CPP Survey EC Laurie Spiegel (*1945): synthesizer as democracy Patchwork from The Expanding Universe (1980) Drums from The Expanding Universe (1980) “Ultimately, these little computers will make it easier to compose, as well as to play music. There are far too few people creating their own music compared to the number of people who really love music. It’s a much worse ratio than amateur painters or writers to consumers of those media, I suspect, and it’s because until now, there has been only a very difficult technique for composing.” Laurie Spiegel. " MSM CPP Survey EC 3. Electronic Music II: Branches Homemade Hardware David Tudor (1926-1996): circuit building Rainforest IV (1973, realized 2001) "Instruments, sculpturally constructed from resonant physical materials, are suspended in free space; each instrument is set into sonic vibration through the use of electromagnetic transducers . The sound materials used to program the instruments are collected from natural scientific sources and are specific to each instrument, exciting their unique resonant characteristics. The excited resonances are routed to a conventional audio system by the use of one or more pick-ups attached to each instrument.” David Tudor, program notes. Jeff Snyder (*1978) The Manta JD-1 Keyboard/Sequencer (“Jesus Keys”) Electric viols The Birl Sunspots (2013-2015) Exclusive/Or with Sam Pluta Nearing Stasis “A sound that does not exist in nature is a stationary sound, a drone.” R.
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