The Art of Electronics

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Daria Semegen
(born June 27, 1946) is an important contemporary American composer of classical music. While she has composed pieces for traditional instruments — her Jeux des quatres (1970), for example, is scored for clarinet, trombone, cello, and piano — she is best known as a "respected electronic composer." She is a figure on the academic side of the electronic music genre, connected with the conservatory and the university (like her older contemporary Karlheinz Stockhausen), rather than the more popular expression of the genre that followed upon the widespread availability of synthesizers and personal computers in the 1970s and after.
Born in Bamberg, West Germany of Ukrainian heritage, Semegen pursued an academic career in music, earning her MA from Yale University in 1971; she has studied at the Eastman School of Music and the Rochester Institute of Technology. She taught at the Columbia-Princeton Electronic Music Center (1971–75). She studied composition under Bülent Arel and Alexander Goehr, and in turn has taught other composers, including Joseph DiPonio, Daniel Koontz, Gilda Lyons and Philip Schuessler. Her writing covers a range of topics related to musical composition and has been the subject of studies by other scholars.

In a distinguished academic career in a field still heavily dominated by men, Semegen has received six grants from the National Endowment for the Arts; has been selected as a Fulbright fellow; and has been awarded fellowships at the MacDowell Colony, Tanglewood, the Chautauqua Institution, and Yaddo — among a range of other awards and distinctions. She is currently associate professor of composition, theory, and electronic music composition at Stony Brook University, and is director of its Electronic Music Studio.(Wiki)

Daria Semegen - Electronic Composition No. 2:

 

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Georg Katzer

Katzer was born in Habelschwerdt, Lower Silesia in 1935. From 1954 to 1960 he studied piano, music theory, and composition with (amongst others) Rudolf Wagner-Régeny and Ruth Zechlin at the Hanns Eisler Hochschule für Musik in East Berlin. From 1957 to 1958 he studied in Prague with Karel Janáček. From 1961 to 1963 he was a postgraduate student of Hanns Eisler and Leo Spies at the German Academy of the Arts in Berlin (Klingberg 2001). In 1963 he became a freelance composer and musician.

From 1976– to 1977 he worked in electronic-music studios in Bratislava and Paris. In 1978 Katzer was elected to membership in the Academy of the Arts in East Berlin (Klingberg 2001). In 1982 he founded the Studio for Electroacoustical Music affiliated with the Music Department of the Academy of the Arts (the first studio of this kind in the GDR), whose artistic director he remained until 2005.

In 1987 he was appointed Professor and subsequently taught a masterclass in composition at the Academy of the Arts. From 1988 to 1991 he was President of the German Section of the C.I.M.E. (International Council for Electroacoustical Music) and from 1990 to 2001 was a presiding member of the Deutscher Musikrat (German Music Council, a member of the International Music Council). Katzer now lives in Zeuthen near Berlin.

This piece by composer Georg Katzler won the Prix C.I.M.E. aequo at the 15e Concours International / Bourges 1987:
http://youtu.be/VKTF3htZZvY

 

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Arne Nordheim
(20 June 1931 – 5 June 2010) was a Norwegian composer. Nordheim received numerous prizes for his compositions, and from 1982 lived in the Norwegian State's honorary residence, Grotten, next to the Royal Palace in Oslo. He was elected an honorary member of the International Society for Contemporary Music in 1997. On 18 August 2006, Arne Nordheim received the honorary doctors degree (doctor honoris causa) at the Norwegian Academy of Music. He died at the age of 78 and was given a State funeral.

At the then Oslo Conservatory of Music (now the Norwegian Academy of Music), where Nordheim studied from 1948 to 1952, he started out as a theory and organ student, but changed to composition, studying with Karl August Andersen (1903–1970), Bjarne Brustad, and Conrad Baden. Then in 1955 he studied with Vagn Holmboe in Copenhagen, and studied musique concrète in Paris. Later he studied electronic music in Bilthoven (1959), and paid many visits to the Studio Eksperymentalne of Polish Radio (1967–1972), where many of his early electronic works were realised (including Pace, Solitaire, and Lux et tenebrae (Poly-Poly)). In 2005, many lost and forgotten tapes of electronic compositions for radio drama for the Norwegian Broadcasting Corporation (NRK) were rediscovered, reminding us that Nordheim also developed his electronic musical language in his home country.

His Essay for string quartet was first performed in Stockholm in 1954, but Nordheim always considered his String Quartet of 1956 as his Opus 1. His musical output is focused around themes of 'solitude, death, love, and landscape'; these themes are already evident in his song cycle Aftonland (Evening Land, 1959), a setting of poems by the Swedish poet Pär Lagerkvist, which brought him national recognition. The 1961 Canzona per orchestra was his international breakthrough. Inspired by Giovanni Gabrieli's canzone, the work showcases Nordheim's historical leanings, as well as his occupation with space as a parameter of music. Nordheim's spatial concerns, coupled with his focus on death and human suffering, are brought together in what is arguably his most famous work, Epitaffio per orchestra e nastro magnetico (1963). Written in memory of the Norwegian flautist Alf Andersen, who died that year at a very young age, the work incorporated Salvatore Quasimodo's poem Ed è sùbito sera. Originally conceived for orchestra and chorus, Nordheim realised that his wish to have the whole performance space 'singing' was better achieved with the use of electronic means. The result is a remarkable, almost imperceptible, blending of the orchestral sounds with the choral sounds of the tape, where the final line 'ed è sùbito sera' ('and suddenly it is evening') is the only part of the text that can be heard.

His later compositions include The Tempest (1979), Klokkesong (1984), Magma (1988 ), the Violin Concerto (1996) and Fonos for trombone and orchestra (2004). Arne Norheim was inspired by the neumes and the sound of the medieval bells in Kaupanger stave church in composing the work Klokkesong, which was first performed in the church. In The Tempest, a ballet based on Shakespeare's play, electronics and orchestral sounds are again mixed, while the focus is more strongly on vocal music (e.g. the 'double voice' of Caliban), while Nordheim's continued use of historical elements is shown by the incorporation of Leonardo da Vinci's musical rebus, which solved reads Amore sol la mi fa remirare, la sol mi fa sollecita. Draumkvedet is a monumental stage work for orchestra, (acting) chamber choir, soloists and dancers, and was performed 40 times in 1994 with the Broadcasting Corporation Radio Orchestra and Grex Vocalis.(Wiki).

Arne Nordheim - Solitaire,1968:
http://youtu.be/3db0bMg9GI0

 

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Bedankt moderator!

 

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Toshi Ichiyanagi
born 4 February 1933, Kobe, Japan) is a Japanese composer of avant-garde music. He studied with Tomojiro Ikenouchi, Kishio Hirao and John Cage.

One of his most notable works is the 1960 composition, Kaiki, which combined Japanese instruments, shō and koto, and western instruments, harmonica and saxophone. Another work Distance (1961) requires the performers to play from a distance of three meters from their instruments. Anima 7 (1964) states that chosen action should be performed "as slowly as possible."
Ichiyanagi was married to Yoko Ono from 1956 to 1963.
Ichiyanagi is the recipient of the 33rd Suntory Music Award (2001). He has been honoured with Japan's Order of Culture.

Toshi Ichiyanagi - Parallel Music, 1962:
http://youtu.be/FAlqsVaZLi0

 

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Vânia Dantas Leite
(b.13 August 1945) is a Brazilian pianist, conductor, music educator and composer.
Vânia Dantas Leite was born in Rio de Janeiro, Brazil, and studied composition with Frederico Egger and piano with Zila de M. Brito at the Escola Nacional de Musica. In 1974 she began to study electronic music and purchased equipment from Electronic Music Studio in London. She established a private laboratory in Rio de Janeiro and began to participate in European and American festivals as a composer of electronic music.(Wiki)

In 1981 she took a teaching position at the Federal University of Rio de Janeiro. She also founded and served as director of the Studio for Electroacoustic Music of the Villa-Lobos Institute (SE-FIR).

Honors and awards:

* 1972-1st place National Composition Contest
* 1973-3rd place International Conducting Competition
* 1996-Rio de Janeiro RJ - Award Scholarship Program

Vânia Dantas Leite: Di-Stances, 1982:

 

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İlhan Mimaroğlu
(March 11, 1926 – July 17, 2012) was a musician and electronic music composer. He was born in Istanbul, Turkey, the son of the famous architect Mimar Kemaleddin Bey depicted on the Turkish lira banknotes, denomination 20 lira, of the 2009 E-9 emission. He graduated from Galatasaray High School in 1945 and the Ankara Law School in 1949. He went to study in New York supported by a Rockefeller Scholarship. He studied musicology at Columbia University under Paul Henry Lang and composition under Douglas Moore.

During the 1960s he studied in the Columbia-Princeton Electronic Center under Vladimir Ussachevsky and on occasions worked with Edgard Varèse and Stefan Wolpe. His notable students included Ingram Marshall.

He worked as a producer for Atlantic Records, where he created his own record label, Finnadar Records, in 1971. In the same year he collaborated with trumpeter Freddie Hubbard on a moving anti-war statement, Sing Me a Song of Songmy. He also was the producer for Charles Mingus’ Changes One and Changes Two, as well as Federico Fellini’s Satyricon.

He was awarded the Guggenheim Fellowship in music composition in 1971.(Wiki)

İlhan Mimaroğlu: To Kill a Sunrise, 1974:

 

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Daniel Trueman

Dan Trueman is an American composer, fiddler, and electronic musician. He began studying violin at the age of 4, and decades later, after a chance encounter, fell in love with the Norwegian Hardanger fiddle, an instrument and tradition that has deeply affected all of his work, whether as a fiddler, a composer, or musical explorer. With the Hardanger fiddle, and his new 5-string Hardanger-inspired "5x5 fiddle," Dan has performed his music with many groups and musicians, including Trollstilt and QQQ, the American Composers Orchestra, So Percussion, the Brentano and Daedelus string quartets, the Crash Ensemble, many wonderful fiddlers, and others, and has performed across America, Ireland, and Norway. But his explorations of musical instruments have extended beyond the fiddle into new technologies; Dan is the co-founder and Director of the Princeton Laptop Orchestra, the first ensemble of its size and kind that has led to the formation of similarly inspired ensembles across the world, from Oslo to Dublin, to Stanford and Bangkok. Dan's compositional work reflects this complex and broad range of activities, exploring rhythmic connections between traditional dance music and machines, for instance, or engaging with the unusual phrasing, tuning and ornamentation of the traditional Norwegian music while trying to discover new music that is singularly inspired by, and only possible with, new digital instruments that he designs and constructs. Dan's work has been recognized by grants and fellowships from the Guggenheim and MacArthur Foundations, among others, and he is Professor of Music at Princeton University. His music is published by Good Child Music.

Daniel Trueman, The Lobster Quadrille:
http://youtu.be/rbf5nZqRjyA

 

[WaveGuide7]

Paul Lansky

Paul Lansky

Paul Lansky, Amerikaans componist die niet alleen prachtige stukken heeft gemaakt, maar ook artikelen schreef, bijv. over de toepassing van LPC (vocodertechniek, https://www.synthforum.nl/forums/showpost.php?p=1649479&postcount=94).

Lansky had een functie op Princeton University en klanktechnische problemen die hij bij zijn LPC-composities ondervond leidde tot samenwerking met informaticus en signaalverwerkings-expert Ken Steiglitz (https://www.synthforum.nl/forums/showpost.php?p=1507171&postcount=33).

In de V.S. (net zoals trouwens in Italie) bestaat er een veel hechtere relatie tussen kunst en wetenschap dan bij ons. Het is veel effectiever om componisten iets op de universiteit te laten doen dan, omgekeerd, een wetenschapper te laten rondmodderen op een conservatorium. De academische sfeer op een universiteit is veel geschikter om grenzen op het raakvlak van de kunst en techniek te verkennen. De vruchtbare samenwerking van Lansky en Steiglitz is daar slechts één klein voorbeeldje van.

 

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Goede aanvulling, dank!
Zeker zijn er meer voorbeelden. Zal kijken of ik goed materiaal bij elkaar kan krijgen.
Als omgekeerd voorbeeld had Friedrich Trautwein Oskar Skala nodig voor de uitwerking van zijn Trautonium. Een uitvinder die een musicus nodig had.

 

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(met dank aan WaveGuide7)

Paul Lansky

(born June 18, 1944, in New York) is an American electronic-music or computer-music composer who has been producing works from the 1970s

A former student of George Perle, he is currently a professor of music composition at Princeton University, and in addition to his music is known as a pioneer in the development of computer music languages for algorithmic composition (see Real-Time Cmix). He is also a former student of Milton Babbitt and Edward Cone.
Lansky's first album, Smalltalk, was not released until 1990. It features four tracks, two covering aspects of the human voice, and two looking at two styles of music (metal and harmonica).
His second album, Homebrew (1992), contains five tracks, including the percussive and aural 18-minute piece "Table's Clear," which features samples of his children playing kitchen utensils. Following that came More Than Idle Chatter, the six compositions of which focus on processings of the human voice using linear predictive coding, granular synthesis, and plucked string synthesis; its three highlights are granular synth pieces called "Idle Chatter," "Just_more_idle_chatter," and "Notjustmoreidlechatter," which look at the same thing from multiple perspectives. In 1994, he released Fantasies and Tableaux, a collection of two earlier works, "Six Fantasies on a Poem by Thomas Campion" and "Still Time." 1995 brought Folk Images, Lansky's personal interpretation and reworking of a "good few folk songs."
At around this point there was a change in the style of Lansky's music that made it sound slightly more modern, and 1997 heralded a one-hour computer opera titled Things She Carried, a musical portrait about an unnamed woman in a series of eight movements. During the following year, Conversation Pieces was released.
In early 2001 the CD Ride was released, featuring a new addition to the Idle Chatter family: "Idle Chatter Junior" and the 19-minute title piece, which tries to simulate a ride through various towns and country. In the spring of 2006, Lansky took an old folk song and various ingredients of hip hop music and created "Chatter of Pins." In 2008 "Chatter of Pins" was included on the compilation album Crosstalk: American Speech Music (Bridge Records) produced by Mendi + Keith Obadike.
Recently, Lansky has shifted his focus away from electronic and computer music to invest more time in composing for acoustic instruments. He has written new acoustic works for David Starobin, So Percussion, Nancy Zeltsman, and the Alabama Symphony Orchestra.
The Radiohead song "Idioteque", from its 2000 album Kid A, features a prominent sample from Lansky's computer tape piece "Mild und Leise" (1973). The sample, four looping chords taken from a few seconds of Lansky's piece, provides the entire harmony for the song. The name "Mild und Leise" comes from the opening lines of Liebestod, the climatic ending of Richard Wagner's opera "Tristan und Isolde"s. Lansky has written an essay about Radiohead that appears in The Music and Art of Radiohead and he has written a short note online inviting listeners to identify where the sample is taken from in the original piece. Lansky's 1979 computer music piece "Her Song", from the Six Fantasies On A Poem By Thomas Campion (re-released on the album Fantasies and Tableaux, 1994), has also been sampled by Caural for his song "I Won't Race You", from his 2006 album Mirrors For Eyes, with the main synthesized vocal line of Lansky's piece being used (and being the basis for the title of the latter).(Wiki)

Paul Lansky - mild und leise, 1973
Part 1:
http://youtu.be/Wib_L7CyNdI

Part 2:
http://youtu.be/Wib_L7CyNdI

 

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Tera de Marez Oyens

Tera de Marez Oyens, geboren als Woltera Gerharda Wansink (Velsen, 5 augustus 1932 – Hilversum, 29 augustus 1996)
De Marez Oyens studeerde aan het conservatorium in Amsterdam, met als hoofdvak piano. Hier werd haar talent voor het componeren ontdekt en schreef zij al haar eerste stukken. Het betrof hier zowel kamermuziek als liederencycli. Ze kwam daarna in contact met jeugdgroepen waarvoor ze ook enkele stukken heeft geschreven.
Vervolgens werd ze cantrix van de hervormde gemeente te Hilversum. Hierdoor heeft ze zich intensief beziggehouden met de kerkmuziek. Voor het Liedboek voor de Kerken, dat in 1973 verscheen, heeft ze voor 14 liederen melodieën geschreven. De teksten van deze liederen waren afkomstig van onder meer Muus Jacobse, Willem de Mérode, Willem Barnard en Ad den Besten, die ze persoonlijk kende.
In de jaren zestig ging zij zich bezighouden met uiteenlopende zaken als woordtoonkuns[ame="http://nl.wikipedia.org/wiki/Woordtoonkunst"]t en elektronische muziek. Pente Sjawoe is een voorbeeld van een werk waar woordtoonkunst een belangrijke rol in speelt.
In 1977 werd ze docente aan het ArtEZ Conservatorium in Zwolle. Bij haar lessen werkte ze vooral aan de ontwikkeling van de eigen stijl van studenten. Maar ze bleef ook eigen stukken schrijven en werd zelfs na de dood van haar tweede echtgenoot fulltime componiste.
In 1988 leverde ze bijdragen voor het internationale celloconcours in Scheveningen. Ze werd in 1989 aan de Georgia State University in Atlanta "composer in residence".
(Wiki)


Tera De Marez Oyens - Saved. 1967:



http://youtu.be/BaijUopBYqk

 

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Akos Rozmann

Ákos Rózmann (1939-2005) was a Hungarian-Swedish modernist composer and organist, notable for his epic electroacoustic compositions inspired by Buddhist and Catholic liturgy.

Rózmann discovered electroacoustic music while pursuing a postgraduate degree in composition at Stockholm’s Royal College of Music and was awarded at the Bourges Concours International de Musique Électroacoustique for his first experiment, Impulsioni, in 1976. The medium would come to define the rest of Rózmann’s life as a composer of evocative, surrealist soundscapes. An uncompromising visionary and devotee to his work process, the existential depth and drama of Rózmann’s long works emerged out of decades of industry at the Elektronmusikstudion EMS Stockholm and his own studio in the basement of the Catholic Cathedral, where he played as the resident organist.

His second piece, the six-hour Tolv stationer (Twelve Stations), was composed over a period of 23 years, integrating acoustic organ into synthetic material and premiered at the Stockholm Culture House. While almost all of his nearly thirty compositions were performed in Sweden in his lifetime, only one was played in public concert in his native country, Hungary. Trumpetmusette was composed for the Budapest Electroacoustic Music Festival of the Hungarian Radio, premiered there in 1994.

Rózmann lived out his later years in the Stockholm suburb of Skogas, where he completed his final work, Orgelstycke nr III/a (Organ Piece Nr. III/a) and saw his biggest concert: Mässa (Mass), composed between 1989 and 2004 and performed over five days at the Stockholm New Music festival. He was diagnosed with and died of pancreatic cancer one year later. A remastered version of Rózmann’s first large-scale masterpiece and dreamscape, Bilder inför drömmen och döden (“Images of Dream and Death”), recorded on a Buchla synthesizer between 1974 and 1977, was released as a triple LP on Editions Mego’s Ideologic Organ imprint in 2013 in an effort to vindicate and share the vision of this electronic music luminary. (CTM Festival)

Akos Rozmann - Images of the Dream and Death Part I & II [Ideologic Organ]:
http://youtu.be/eGB_o5WJrVA

 

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Pietro Grossi
(Venice 15 April 1917 – Florence 2002) was an Italian composer pioneer of computer music, visual artist and hacker ahead of his time. He began in Italy, experimenting with electronic techniques in the early sixties.

Pietro Grossi was born in Venice, and he studied in Bologna eventually taking a diploma in composition and violoncello. In the sixties Grossi taught at the Conservatory of Florence and began to research and experiment with electroacoustic music. From 1936 to 1966 was the first cellist of the Maggio Musicale Fiorentino orchestra. Grossi began to experiment with electroacoustic music in the 1950s. By 1962, he had become the first Italian to carry out successful research in the field of computer music.

In 1963, he turned his interest to electronic music and founded the S 2F M (Studio di Fonologia Musicale di Firenze) which made its headquarters in Florence at the Conservatorio, and he also became a lecturer in this subject.

In 1964 he organized events with the association Contemporary Musical Life that introduced in Italy the work of John Cage. In 1965 he obtained the institution of the first professorship of Electronic Music in Italy.

In 1967 he made the first experiences in computer music.

In 1970 he made his first approaches to musical telematics organizing a performance with a link between Rimini (Pio Manzù Foundation) and Pisa (CNUCE). By invitation of lannis Xenakis, he presented another telematic concert between Pisa and Paris in 1974. His contributions to the development of new technological musical instruments and to the creation of software packages for music-processing design have been fundamental.

He has not limited his work to the musical world, but also engaged in contemporary art. In the eighties he was working on new forms of artistic production oriented toward the use of personal computers in the visual arts. Grossi started to develop visual elaborations created on a personal computer with programs provided with "self-decision making" and that works out the concept of HomeArt (1986), by way of the personal computer, raises the artistic aspirations and potential latent in each one of us to the highest level of autonomous decision making conceivable today, and the idea of personal artistic expression: “a piece is not only a work (of art), but also one of the many “works” one can freely transform: everything is temporary, everything can change at any time, ideas are not personal anymore, they are open to every solution, everybody could use them”. Grossi has always been interested in every form of artistic expression. The last step of his HomeArt, is the creation of a series of unicum books, electronically produced and symbolically called HomeBooks (1991): each work is completely different from the others, thanks to the strong flexibility of the digital means. Sergio Maltagliati will continue this project creating autom@tedVisuaL software in 2012, which generates always different graphical variations. It is based on HomeArt’s Q.Basic source code. This first release autom@tedVisuaL 1.0 has produced 45 graphical single samples, which have been sammled and published.

He collaborated in order to experiment with electronic sound and composition with the computer music division of "CNUCE" (Institute of the National Research Council of Pisa).

Grossi’s latest multimedia experiments were with interactive sound and graphics. His later works involved automated and generative visual music software, autom@tedVisualMusiC 1.0 which he extended beyond the realms of music into the interactive work for the Internet, conceiving and collaborating with Sergio Maltagliati in 1997 of the first Italian interactive work for the web netOper@,entertaining in his own house study the first on-line performance.

Studio Di Fonologia Musicale Di Firenze - Mixed Paganini (Pietro Grossi) ,1967:
http://youtu.be/ZQSP_wF7wSY

 

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Frederick Charles (Fred) Judd, (1914–1992)
is known for his work in amateur radio, particularly his designs of the Slim Jim and ZL Special aerial antennas. He was also an inventor and proselytiser of early British electronic music.

Like fellow composer Tristram Cary, Fred served in the forces during World War II, working with radar and becoming a fully trained engineer. After demobilisation he worked for the company Kelvin Hughes on the research and development of marine radar apparatus, while writing articles for hobbyist magazines on radio and remote controlled models. The first of his 11 published books was issued in 1954, and with the launch of Amateur Tape Recording (ATR) magazine in 1959, he soon joined the staff as technical editor, writing about all manner of topics connected to tape, electronics and hi-fi.

Along with Daphne Oram, Fred was enthusiastically promoting electronic music to the British public via demonstrations and lectures to amateur tape recording clubs up and down the country. In 1961 his book Electronic Music and Musique Concrete was published – one of the earliest in the world to tackle the subject and provide practical information and circuit diagrams. Two years later he became chief editor of ATR and began issuing 7” records made available through the magazine. Castle and sister label Contrast issued a range of sound effects discs recorded by Fred, including 3 disks of electronic music. Some of these tracks were later issued by library label Studio G on the Electronic Age album.

By the start of 1963 Fred had designed and built his own prototype synthesizer – a simple voltage controlled, keyboard-operated unit for generating, shaping and switching electronic sounds – a small but significant development in the history of the synthesizer, as it predates the Synket, Moog and Buchla instruments.

Broadcast in 1963 on the ITV network, the sci-fi puppet show Space Patrol, is the first on British television to feature a specially composed electronic music soundtrack running throughout the whole series. Fred created the sounds with tape manipulation, loops and tone generators in his home studio in London.

Fred’s investigations into the visualisation of electronic sounds led to his system Chromasonics. This was a modified b&w television to which he added new pulse generating and amplifying circuitry, along with a high speed colour scanning wheel in front of the screen. This apparatus yielded full colour abstract patterns moving in accordance with the sound input from oscillators or tape recordings. Chromasonics was demonstrated to great acclaim at the 1963 Audio Fair in London, but interest from electronics firm Stuzzi did not lead to commercial development.

Fred was a great amateur radio enthusiast with his call sign G2BCX, and his innovative designs for the Slim Jim and ZL Special aerial antennas are still in use today. Towards the end of his life, he built several detailed reconstructions of early electrical devices including a Wimshurst machine and Edison phonograph. He was honoured by the University of East Anglia for constructing a working replica of apparatus used by Heinrich Hertz, but it seems that none of this equipment, the Chromasonics apparatus or his experimental music-making machinery has survived. However, starting in 2010 all of his remaining original quarter inch tapes have been catalogued and deposited with the British Library Sound Archive.

In 2011, Judd is the focus of Practical Electronica, an experimental documentary by Ian Helliwell, covering Fred’s work with electronic sound and amateur tape recording. A retrospective album gathering together as much of his experimental music as can be located, is being released by the Public Information label.(Wiki)

Frederick Charles Judd - Electronic Sounds, 1967(?):
http://youtu.be/zKB84VfxSH0

 

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Ursula Bogner

According to the usual chronological benchmarks, Ursula Bogner’s biography appears short and conventional: Born (*1946) and raised in Dortmund, she moved to Berlin at 19 to study pharmacy. Degree in hand, she immediately went to work for pharmaceutical giant Schering, followed by marriage, children and a successful yet by no means sensational scientific career within the multinational heavyweight. At the same time, she developed a keen interest in electronic music. Throughout her early twenties, she followed the activities of Cologne-based ‘Studio für elektronische Musik’, attended seminars by Studio founder Herbert Eimert, exhibited great enthusiasm for Musique Concrète and, later on, shared her children’s enthusiasm for British New Wave Pop. Nevertheless, Ursula Bogner never involved herself in any scene, never made her music public. Maybe this can be attributed to her boundless curiosity. Besides composition, she also tried her hand at painting, printing (the booklet features reproductions of two of her linocuts) and developed a strong fascination for Wilhelm Reich’s ‘orgonomy’, the sexual researcher and psychoanalyst’s bizarre late work on his discovery of ‘orgonenergy’. Reich aimed to focus resp. collect this particular type of solar energy and use it for healing purposes. To this end, he created an apparatus, a cabin of wood and metal otherwise known as an ‘orgon accumulator’ (see image). Inspired by several trips to ‘Orgonon’ (Maine, USA) – Wilhelm Reich’s former workspace and home - Ursula Bogner decided to construct her own accumulator and stored it in the family’s backyard. At this point, it becomes increasingly hard to shake the suspicion, later confirmed by Sebastian Bogner, that his mother was drawn to all things esoteric. Mounds of New Age literature and fringe science works would litter the Bogner household. And yet, throughout all this, she remained a Schering employee and thus firmly rooted in the sciences. Her compositions, too, betray few signs of esotericism, in fact they are closer to studies and sketches: humorous and - in view of her biography - almost silly rather than tied to any particular school of mysticism or science. Nevertheless, it is remarkably hard to grasp or classify her work as a whole. Over the course of 20 years, she dabbled in many different styles leading to a huge wealth of work and a bewildering variety of titles.(Faitiche catalogue)

Ursula Bogner - Punkte, 1969-1988:
http://youtu.be/jyyjJK-jh8k

 

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Horacio Vaggione

Horacio Vaggione (born 1943) is an electro-acoustic and musique concrète composer who specializes in micromontage, granular synthesis, and thus microsound and (Landy 1994, p. 14 whose pieces often are for performer and computer-generated tape. He studied composition at the National University in Córdoba and the University of Illinois, where he first gained exposure and access to computers.

Vaggione was born in Córdoba, Argentina, but lives in Europe and visited every electronic studio there during the 1970s. From 1969 to 1973 he lived in Madrid, Spain, and was part of ALEA and co-founded an electronic studio and the Projects Music and Computer at the Autonomous University in Madrid with Luis de Pablo. In 1978 he moved to France, where he still resides, and began work at GMEB in Bourges, INA-GRM and IRCAM in Paris where his music moved from synthesized and sampled loops (as in La Maquina de Cantar, produced on an IBM computer) towards micromontage. Since 1994 he has been Professor of Music University of Paris VIII and organized the CICM.(wiki)

Compositions

La Maquina de Cantar (English: "The Singing Machine". 1978, Cramps and reissued 2002, Ampersand 11)
Thema for bass saxophone & computer-generated tape (1985, Wergo WER 2026-2)
Tar (1987, Le Chant du Monde, LCD 278046/47)
Kitab for bass clarinet, piano, contrabass and computer-processed and controlled sounds (1992, Centaur CRC 2255)
Ash ( 1990 )
Schall ( 1995 )
Nodal ( 1997 )
Agon ( 1998 )
Sçir for contrabass flute in G & prerecorded tape (2001)
Atem for horn, bass clarinet, piano, double bass and electroacoustic set-up (2002)
Gymel Electroacoustic music (2003)
Taléas for recorders and electroacoustics (2002/2004)
Préludes Suspendus II (2000?)
24 Variations (2011)
Points Critiques (2012)

Horacio Vaggione - AGON (Berlin 2000):

http://www.youtube.com/watch?v=yi5DOHnErAc

 

[roland kuit]

Agon ( 1998 ) moet Agon -1998 zijn. krijg de smiley niet weg.
+add on:
“Vaggione was one of the first to introduce fractals into music. Only too conscious of music’s richness and specificity, he was not one to be taken in by the musical limits of the important idea of self-similarity. In his theoretical texts, we find very pertinent remarks on the notion of complexity, on the relationship between synthesis and notation” (Risset 1995, p290, ppp2)

 

[roland kuit]

en de link:
http://youtu.be/yi5DOHnErAc

 

[roland kuit]

Konrad Boehmer (born 24 May 1941) is a Dutch composer and writer of German birth.

Boehmer was born in Berlin. His music reflects his Marxist political agenda, which is made explicit in many of his writings from the late 1960s and 1970s (e.g., Boehmer 1970). A self-declared member of the Darmstadt School (Boehmer 1987), he studied composition in Cologne with Karlheinz Stockhausen and Gottfried Michael Koenig, and philosophy, sociology, and musicology at the University of Cologne, where he received a PhD in 1966 (Sabbe 2001). After receiving his doctorate, he settled in Amsterdam, working until 1968 at the Institute for Sonology, Utrecht University. In 1972 he was appointed professor of music history and theory at the Royal Conservatory of The Hague (Sabbe 2001).

His compositions characteristically employ serial organization or montage, sometimes with elements of jazz and rock music (as in his opera Doktor Faustus and the electronic Apocalipsis cum figuris). In other works, such as Canciones del camino and Lied uit de vert Marxist songs serve as basic material (Sabbe 2001).

In 2001 the Holland Festival commissioned Boehmer to write a composition for the rock band Sonic Youth, which they performed at both concerts during that festival in the Stadsschouwburg Amsterdam (Sanders 2001). It was the band in its 'Goodbye 20th Century' period.(Wiki)

Konrad Boehmer Aspekt, 1966: