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s who later became well known as a composer rather than an architect the work was performed on ca 425 loudspeakers and was accompanied by projected images this was truly one of the first large scale multimedia productions iannis xenakis b 1922 composed concret ph this work was also composed for the brussels world s fair it made use of a single sound source amplified burning charcoal max mathews of bell laboratories generated music by computers john cage composed fontana mix at the milan studio london bbc radiophonic workshop an electronic studio established stockholm swedish radio an electronic studio established the studio for experimental music at the university of illinois established directed by lejaren hiller pierre henry leaves the group de musique concrete they reorganize as the groupe de recherches musicales grm gordon mumma and robert ashley founded the cooperative studio for electronic music ann arbor mi university of michigan luciano berio composed thema omaggio a joyce the sound source is woman reading from joyce s ulysses 1958 60 stockhausen composed kontakte contacts for four channel tape there was a second version for piano percussion and tape 1958 9 mauricio kagel an argentinian composer composed transicion ii the first piece to call for live tape recorder as part of performance the work was realized in cologne two musicians perform on a piano one in the traditional manner the other playing on the strings and wood two other performers use tape recorders so that the work can unites its present of live sounds with its future of pre recorded materials from later on and its past of recordings made earlier in the performance max mathews at bell labs began experimenting with computer programs to create sound material mathews and joan miller also at bell labs write music4 the first wide spread computer sound synthesis program versions i through iii were experimental versions written in assemble language music iv and music v were written in fortran music4 did not allow reentrant instruments same instrument becoming active again when it is already active music5 added this music4 required as many different instruments as the thickest chord while music5 allowed a score to refer to an instrument as a template which could then be called upon as many times as was necessary the columbia princeton electronic music center was formally established the group had applied through the rockefeller foundation and suggested the creation of a university council for electronic music they asked for technical assistants electronic equipment space and materials available to other composers free of charge a grant of 175 000 over five years was made to columbia and princeton universities in january 1959 under the direction of luening and ussachevsky of columbia and milton babbitt and roger sessions of princeton the center was formally established the rca mark ii synthesizer was built at columbia princeton electronic music center the original version was built for the artificial creation of human speech the mark ii contained oscillators and noise generators the operator had to give the synthesizer instructions on a punched paper roll to control pitch volume duration and timbre the synth used a conventional equal tempered twelve note scale 1960 composers of more traditional orchestral music began to rebel many composers tried to get quasi electronic sounds out of traditional instruments bruno bartelozzi wrote new book on extended instrumental techniques morton subotnick pauline oliveros and ramon sender established the san francisco tape music center john cage composed cartridge music an indeterminate score for several performers applying gramophone cartridges and contact mics to various objects 1961 the first electronic music concerts at the columbia princeton studio were held the music was received with much hostility from other faculty members varese finally completed deserts at the columbia princeton studio fortran based music iv was used in the generation of bicycle built for two mathews the production of integrated circuits and specifically vlsi very large scale integration robert moog met herbert deutsch and together they created a voltage controlled synthesizer luciano berio composed visage this radio composition is based on the idea of non verbal communication there are many word like passages but only one word is spoken during the entire composition actually heard twice parole italian for word cathy berberian the composer s wife was the performer the theoretical work meta hodos written in 1961 by james tenney meta meta hodos 1975 followed 1962 bell labs mass produces transistors professional amplifiers and suppliers plf 2 was developed by james tenney this computer program was used to write four stochastic studies ergodos and others iannis xenakis composed bohor for eight tracks of sound milton babbitt composed ensembles for synthesizer 1962 64 at the columbia princeton studio at the university of illinois kenneth gaburo composed antiphony iii for chorus and tape paul ketoff built the synket this synthesizer was built for composer john eaton and was designed specifically as a live performance instrument 1963 lejaren hiller and robert baker composed the computer cantata babbitt composed philomel at the columbia princeton studio the story is about philomel a woman without a tongue who is transformed into a nightingale based on a story by ovid mario davidovsky composed synchronism i for flute and tape davidovsky has since written many synchronism pieces these works are all written for live instrument s and tape they explore the synchronizing of events between the live and tape 1964 the fully developed moog was released the modular idea came from the miniaturization of electronics gottfried michael koenig used pr 1 project 1 a computer program that was written in fortran and implemented on an ibm 7090 computer the purpose of the program was to provide data to calculate structure in musical composition written to perform algorithmic serial operations on incoming data the second version of pr 1 completed 1965 karlheinz stockhausen composed mikrophonie i a piece that required six musicians to generate two performers play a large tam tam while two others move microphones around the instrument to pick up different timbres and the final two performers are controlling electronic processing ilhan mimaroglu a turkish american composer wrote bowery bum this is a concrete composition and used rubber band as single source it was based on a painting by dubuffet 1965 hi fi gear is commercially produced the first commercially available moog varese died karlheinz stockhausen composed solo the composition used a tape recorder with moveable heads to redefine variations in delay between recording and playback live manipulation during performance karlheinz stockhausen composed mikrophonie ii for choir hammond organ electronics and tape steve reich composed it s gonna rain this is one of the first phase pieces 1966 the moog quartet offered world wide concerts of mainly parlor music herbert brun composed non sequitur vi steve reich composed come out another phase piece 1967 walter carlos later wendy composed switched on bach using a moog synthesizer iannis xenakis wrote musiques formelles formalized music the first discussion of granular synthesis and the clouds and grains of sound is presented in this book leon kirschner composed string quartet no 3 the first piece with electronics to win the pulitzer prize kenneth gaburo composed antiphony iv a work for trombone piccolo choir and tape morton subotnick composed silver apples of the moon title from yeats the first work commissioned specifically for the recorded medium the grateful dead released anthem of the sun and frank zappa and the mothers of invention released uncle meat both albums made extensive use of electronic manipulation 1968 lejaren hiller and john cage composed hpschd morton subotnick composed the wild bull hugh davies compiled an international catalogue of electronic music 1969 terry riley composed rainbow in curved air late 1960s the sal mar construction was built the instrument was named for composer salvatore martirano and designed by him the sal mar construction weighed over fifteen hundred pounds and consisted of analog circuits controlled by internal digital circuits controlled by the composer performer via a touch control keyboard with 291 touch sensitive keys godfrey winham and hubert howe adapted music iv for the ibm 7094 as music4b was written in assembly language music4bf a fortran language adaptation of music4b one version was written by winham another was written by howe music v variants include music360 and music11 for the ibm360 and the pdp11 computers these were written by barry vercoe roger hale and carl howe at mit respectively groove was developed by mathews and f richard moore at bell labs and was used to control analog synthesizers 1970 charles wuorinen composed times encomium the first pulitzer prize winner for entirely electronic composition charles dodge composed earth s magnetic field this is a great example of mapping numerical statistics into musical data steve reich composed four organs 1972 pink floyd s album the dark side of the moon was released it used ensembles of synthesizers also used concrete tracks as interludes between tunes 1973 sawdust a language by herbert brun used functions including element link mingle merger vary and turn 1974 the mellotron was built the instrument was an early sample player that used tape loops there were versions that played string posted by industrial music library at 4 44 am 3 comments email this blogthis share to x share to facebook share to pinterest tags labels electrochord electronic music john cage magnetic tape musique concrete novachord ondioline pierre henry rhythmicon schaeffer sonorous cross sound collage stockhausen theremin varese 12 14 2010 gristleism throbbing gristle inspired sound toy looping device gristleism 5 0 out of 5 stars an odd thing january 2 2010 by c pilkington music enthusiast review found on amazon com i ve enjoyed ambient music for quite awhile and artists like brian eno are truly inspiring even more in present times his philosophy is that good ambient music should be something that is poignant when both focused on or placed in the background i stumbled on this little wonder after reading quite a bit about the buddha machines that fm3 introduced to the world several years ago this is an offshoot of that product and instead of containing blissful soothing tones gristleism carries some very creepy and overall strange sounds originally created by throbbing gristle for weird people like me it s a very interesting little gadget before i continue i have the red gristleism there are at least two other color choices at the moment i just happened to pick the red one every gristleism has a very simple plastic design it has a volume adjuster which also doubles as an on off switch a loop selector button and a pitch tempo shifting wheel all located on top of this small square device the speaker is located on the front of the unit and takes up most of the front the gristleism runs on 2 aa batteries and has a unique design that fills the back of the toy even the box it comes shipped in has an ornate but effective design that s the whole thing in a nutshell now how is this supposed to be interesting you ask well the gristleism contains 13 loops all ranging in length you can use the pitch tempo shifter and really bend each loop into something entirely different thus the lasting power of this toy seems to be quite large you can play with it for just a few minutes and get a good grasp on what the thing is capable of but if you dive into it over time you ll realize that there s a lot you can do with it now when i get on the computer sometimes i will just set up the gristleism and let it play in the background it enhances your environment without being too much of a distraction unless you set the volume really high the buddha machines are obviously much better for this purpose but i like the dark contrast the gristleism has to the light of the buddha machines if you have several devices of either the buddha or gristleism variety there s even more fun to be had posted by industrial music library at 11 11 am 5 comments email this blogthis share to x share to facebook share to pinterest tags labels circuit bending dreamachine electronic experimental firstwave industrial genesis p orridge industrial music industrial records musique concrete noise splice tg throbbing gristle 11 29 2010 interview with monte cazazza slash 1979 slash magazine vol 2 3 january 1979 from oakland to england from obscurity to being very widely unknown monte cazazza has a past one of our finest investigative reporters lays it bare next record due for release from industrial records is from monte cazazza a reclusive oakland artist whose performances have violated the sensibilities of indignant art critics the entire acid damaged bay area avantgarde and jaded art cliques from menlo park to venice italy he s been described as a brilliant monster art gangster and a real sick guy but one thing is unanimous his personal appearances really rile people up his detractors just don t seem to get the point genet says it best to escape the horror bury yourself in it like other artists who are obsessed with violent images cazazza s early life was riddled with hideous events and accidents including witnessing a necrophiliac in action rather than choke down those nightmares he spat them back out at the world cazazza s reputation was spawned at oakland college of arts and crafts when for his first sculpture assignment he created a cement waterfall down the main stairway of the building making it permanently impassable and got the boot on the second day of school his formal education completed he passed quickly through a mutilated rubber doll period then disappeared among dark rumours of hospitals and jails he resurfaced with a blatantly commercial attempt to woo the whims of the wealthy with tasteful pornographic collages of orchids sprouting penises at a san francisco exhibit he was contacted by an ageing countess as a possible benefactress and lunched at her famous oakland mansion while visions of dollar signs danced drunkenly around the plates the contessa died two weeks later shortly thereafter in 1972 he achieved infamy when he was invited to attend an arts conference weekend in the woods to share transcendental conversations on perspective and grant writing while nestling paint spattered jeans in pine needles and toasting hand dyed marshmallows for s mores in an ultimate artsy outdoorsy atmosphere cazazza arrived with an armed bodyguard and sprinkled arsenic into all the food at lunch he dropped bricks with the word dada painted on them on artistic feet at dinner he burned a partially decomposed maggot infested cat at the table his bodyguard block...
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