Episodios

  • Chapter 27, Computer Music (1971–2014)

    Chapter 27, Computer Music (1971–2014)
    Apr 16 2025

    Episode 167

    Chapter 27, Computer Music (1971–2014). Works Recommended from my book, Electronic and Experimental Music

    Welcome to the Archive of Electronic Music. This is Thom Holmes.

    This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text.

    The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings.

    There is a complete playlist for this episode on the website for the podcast.

    Let’s get started with the listening guide to Chapter 27, Computer Music (1971–2014) from my book Electronic and Experimental music.

    Playlist: EARLY MUSIC FROM MICROPROCESSORS

    Time

    Track Time

    Start

    Introduction –Thom Holmes

    01:36

    00:00

    1. David Behrman, “Figure in a Clearing” (1977). KIM- 1 computer- controlled harmonic changes for 33 electronic generators and accompanying cello.

    19:10

    01:40

    2. Dorothy Siegel, “Rondo from Sonata in B flat for Clarinet and Piano” (by Wanhal) (1979). Realized using an Altair S- 100 microcomputer.

    03:53

    20:52

    3. Larry Fast, “Artificial Intelligence” (1980). Music generated by a microcomputer self- composing program.

    10:46

    24:44

    4. Laurie Spiegel, “A Harmonic Algorithm” (1981). Created on an Apple II computer with Mountain Hardware oscillator boards.

    03:05

    35:30

    5. Nicolas Collins, “Little Spiders” (1982). For two microcomputers equipped with gestural sensing programs, that generated sounds based on analysis of keystrokes.

    04:46

    38:30

    6. Gordon Mumma, “Than Particle” (1985). For computer percussion and a percussionist.

    10:16

    43:30

    7. Morton Subotnick, “And the Butterflies Begin to Sing” (1988). For string quartet, bass, MIDI keyboard, and microcomputer.

    06:38

    53:50

    8. John Bischoff, Mark Trayle, Tim Perkis, “Dovetail” (1989). Three microcomputer programs interact and respond to each other in real time.

    05:04

    01:00:30

    9. Tim Perkis, “Wax Lips” (1992). Performed by The Hub, an electronic music ensemble networked by a Microcomputer.

    04:37

    01:05:32

    10. Jin Hi Kim, “Digital Buddha” (2014), recorded live at the Metropolitan Museum of Art. Electric komungo, Jin Hi Kim; percussion, Gerry Hemingway; MAX/MSP programming, Alex Noyes. The world’s first electric komungo that his equipped with MIDI and controlled using MAX. The komungo is a traditional 6-string instrument from Korea.

    12:33

    01:10:08

    Additional opening, closing, and other incidental music by Thom Holmes.

    My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.

    See my companion blog that I write for the Bob Moog Foundation.

    For a transcript, please see my blog, Noise and Notations.

    Original music by Thom Holmes can be found on iTunes and Bandcamp.
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    1 h y 24 m
  • Chapter 26, Early Computer Music (1950–70)

    Chapter 26, Early Computer Music (1950–70)
    Apr 10 2025
    Episode 166 Chapter 26, Early Computer Music (1950–70). Works Recommended from my book, Electronic and Experimental Music Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let’s get started with the listening guide to Chapter 26, Early Computer Music (1950–70). from my book Electronic and Experimental music. Playlist: EARLY COMPUTER MUSIC (1950–70) Time Track Time Start Introduction –Thom Holmes 01:40 00:00 1. Tones from Australia, 1951. All produced using the CSIR Mark 1 computer built at the CSIR’s radio-physics division in Sydney. The computer had a speaker—or hooter—to signal when operations were completed. A clever programmer thought of manipulating the signal tones into a melody. 02:18 01:42 2. Alan Turing’s computer music. 1951. Recording made of tones generated by the mainframe computer at the Computing Machine Laboratory in Manchester, England. Snippets of the tunes God Save the King, Baa, Baa Black Sheep, and Glenn Miller’s swing classic In the Mood. Plus, the voices of computer lab members listening to the sound as it was recorded. Original acetate recording from 1951 restored by University of Canterbury composer Jason Long and Prof Jack Copeland. 01:55 02:36 3. Max Mathews, “Numerology” (1960). Introduced by a narrator. From the album Music From Mathematics, Bell Telephone Laboratories. While working at Bell Labs in telecommunications research, Max Mathews was one of the earliest computer engineers to use a general-purpose computer to program music and digitally synthesize musical sound. His programming language Music I allowed composers to design their own virtual instruments, a breakthrough during those pioneering days of computer music. “Numerology” was composed to demonstrate the various parameters, or building blocks, available to the composer using this programming language: vibrato (frequency modulation), attack and decay characteristics, glissando, tremolo (amplitude modulation), and the creation of new waveshapes. 02:49 04:38 4. John Robinson Pierce, “Beat Canon” (1960). Introduced by a narrator. From the album Music From Mathematics, Bell Telephone Laboratories. Played by IBM computer and direct to digital sound transducer. 00:52 07:28 5. James Tenney, “Noise Study” (1961). So named because “each of the ‘instruments’ used in this piece includes a noise-generator.” 04:24 08:20 6. “Bicycle Built For Two (Accompanied)” (1963) From the demonstration record Computer Speech - Hee Saw Dhuh Kaet (He Saw The Cat), produced by Bell Laboratories. This recording contains samples of synthesized speech–speech artificially constructed from the basic building blocks of the English language. 01:17 12:42 7. Lejaren Hiller, “Computer Cantata, Prologue to Strophe III” (1963). From the University Of Illinois. This work employed direct computer synthesis using an IBM 7094 mainframe computer and the Musicomp programming language. 05:41 14:00 8. J. K. Randall, “Lyric Variations For Violin And Computer” (1965-1968). J. K. Randall’s piece had a complex section that pushed the limits of computer processing power at the time. Although the section consisted of only 12 notes, each note was 20 seconds long. Each note overlapped with the next for 10 seconds, making the total length of the section only about 2 minutes. But this required 9 hours to process on one of the fastest computers of the day. 03:34 19:40 9. John Robinson Pierce, “Eight-Tone Canon” (1966). “Using the computer, one can produce tones with overtones at any frequencies.” Produced at Bell Telephone Laboratories. 03:53 23:14 10. Pietro Grossi, “Mixed Paganini” (1967). “Transcription for the central processor unit of a GE-115 computer of short excerpts of Paganini music scores. Realized at Studio di Fonologia musicale di Firenze (Italy). 01:46 27:08 11. Pietro Grossi, “Permutation of Five Sounds” (1967). Recording made on the Italian General Electric label. Realized at Studio di Fonologia musicale di Firenze (Italy). Distributed in 1967 as a New year gift by Olivetti company. 01:33 28:54 12. Wayne Slawson, “Wishful Thinking About...
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    1 h y 39 m
  • Chapter 25, Electronic Music from Japan, China, and The Asia-Pacific, Part 2

    Chapter 25, Electronic Music from Japan, China, and The Asia-Pacific, Part 2
    Apr 8 2025
    Episode 164 Chapter 25, Electronic Music from Japan, China, and The Asia-Pacific, Part 2. Works Recommended from my book, Electronic and Experimental Music Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let’s get started with the listening guide to Chapter 25, Electronic Music from Japan, China, and The Asia-Pacific, Part 2. from my book Electronic and Experimental music. In the playlist, the musical works are in chronological order by region (e.g., China, Taiwan). Playlist: ELECTRONIC MUSIC FROM CHINA AND THE ASIA-PACIFIC Time Track Time Start Introduction –Thom Holmes 01:39 00:00 China 1. Fengjiangzou, “败臼,” (2021). From a survey of contemporary Chinese electronic music produced by the Unexplained Sounds Group. 03:36 01:40 2. Yan Jun, “In A Sense That Yet To Be Made” (2022). From a cassette release. Yan Jun, musician and poet, born in Lanzhou and based in Beijing. 46:44 05:16 3. Zhu Wenbo, Zhao Cong, Li Song, "3 lines" (live recording 2023 in Wujing, Beijing). “Sounds from transducer feedback, elastic ropes and other objects (foil, paper…).” Trio of improvising electronic musicians. 08:59 52:00 Taiwan 4. Scattered Purgatory, “破城入山” (Ramming the Town, Roaming the Mountain) (2014). Experimental drone/folk/rock band from Taipei, Taiwan comprised of members Lu Li-Yang and Lu Jiachi. 07:48 01:00:58 5. Mong Tong, “介紹 (Jiè Shào)” and “地府 (Dì Fǔ)” (2021). Mong Tong is a Taiwanese psychedelic music band formed by brothers Hom Yu and Jiun Chi. From the album, Music From Taiwan Mystery. 06:27 01:08:44 6. Mong Tong, “天庭 (Tiān Tíng)” (2021). From the album, Music From Taiwan Mystery. 07:38 01:15:08 Thailand 7. Rik Wachirapilun, “สังวาส (Fuck)” (1999). Rik is a Thai musician whose music combines elements from Thai, Indian, Arabic and Western New Wave/Indie Rock cultures. 04:15 01:22:46 Indonesia 8. Otto Sidharta, “Gamelan” (1980). From the album, Otto Sidharta, Indonesian Electronic Music 1979-1992. 11:28 01:27:02 9. Melcyd, “Hellephant” (2015). From the cassette compilation, Pekak! Indonesian Noise 1995-2015: 20 Years of Experimental Music from Indonesia. “Melcyd is an experimental music group that was born in the indie-pop scene of Yogyakarta city and shifted to a more experimental form in their later period as a music group.” 06:12 01:38:24 10. Theonugraha, “Ngayau” (2015). From the cassette compilation, Pekak! Indonesian Noise 1995-2015: 20 Years of Experimental Music from Indonesia. 04:01 01:44:36 11. To Die, “Di Lautan Kegamangan” (2015). From the cassette compilation, Pekak! Indonesian Noise 1995-2015: 20 Years of Experimental Music from Indonesia. A list of recordings can be found here. 04:25 01:48:38 Philippines 12. Jose Maceda, “Ugnayan” excerpt (1973/2009). Ugnayan, music for 20 radio stations. This release is a stereo mix of the original twenty tracks recorded under the supervision of the composer in 1973 in the Philippines. 22:21 01:53:02 13. Jose Maceda, “Strata” (1987). 19:42 02:15:22 New Zealand 14. Douglas Lilburn, “The Return” (1965). Narrator, Tim Elliott; Technical Supervision, Willi Gailer; Maori Voice, Mahi Potiki. Tape work with voices. Douglas Lilburn (1915-2001) has been described as the "grandfather of New Zealand music," having worked in both conventional classical styles as well as pioneering electro-acoustic music in New Zealand. 17:00 02:34:58 15. Annea Lockwood, “Tiger Balm” (1970/1987). Revised Tape, Annea Lockwood; Engineering Assistance, Peter Grogono. “Tiger Balm was originally mixed in 1970 at Peter Zinovieff's Putney Studio in London. It was revised by the composer in her own studio a number of years later. This is the revised version.” Born in New Zealand, Annea Lockwood moved to England in 1961, studying composition at the Royal College of Music, London and followed courses in electronic music with Gottfried Michael Koenig. 10:26 02:51:56 16. Douglas Lilburn, “Soundscape with Lake and River” (1979). 11:01 03:02:22 17. Ros Bandt, “Stack (Red Rhythmic ...
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    3 h y 30 m
  • Chapter 25, Electronic Music in Japan and The Asia-Pacific

    Chapter 25, Electronic Music in Japan and The Asia-Pacific
    Apr 1 2025
    Episode 164 Chapter 25, Electronic Music in Japan and The Asia-Pacific. Works Recommended from my book, Electronic and Experimental Music Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let’s get started with the listening guide to Chapter 25, Electronic Music in Japan and The Asia-Pacific from my book Electronic and Experimental music. Playlist: ELECTRONIC MUSIC IN JAPAN AND THE ASIA-PACIFIC Time Track Time Start Introduction –Thom Holmes 01:32 00:00 1. Toshiro Mayuzumi, “Les Œuvres Pour La Musique Concrète X, Y, Z” (1953). Early work of tape music. 13:50 01:36 2. Toru Takemitsu, “Vocalism Ai (Love)” (1956). For magnetic tape (condensed from a 72-hour tape montage. 04:11 15:22 3. Makoto Moroi and Toshiro Mayuzumi, “Shichi No Variation (7 Variations)” (1956). Tape music for sine wave generators. 14:51 19:32 4. Toru Takemitsu, “Sky, Horse And Death (Concrete-Music)” (1958). For magnetic tape. 03:28 34:24 5. Group Ongaku, “Object” (1960). Recorded on May 8, 1960, at Mizuno’s house. Performers were Chieko Shiomi, Mikio Tojima, Shukou Mizuno, Takehisa Kosugi, Yasunao Tone, and Yumiko Tanno. 07:34 37:50 6. Toru Takemitsu, “Water Music” (1960). For magnetic tape. 09:41 45:26 7. Michiko Toyama, “Aoi No Ue (Princess Hollyhock) (Music Drama for Tape and Narration).” For magnetic tape and reader. 07:05 55:06 8. Group Ongaku, “Metaplasm Part 2” (1961). Live performance, 1961, at Sogetsu Kaikan Hall, Tokyo. Tadashi Mori (conductor), 09:08 01:02:10 9. Akira Miyoshi (composer), opening excerpt to Ondine (1961). For orchestra, mixed chorus and electronic sounds. 04:32 01:11:18 10. Joji Yuasa ‎– “Aoi No Ue” (1961). For voice and tape and based on The Tale of Genji written by Murasaki Shikibu in 11th century. Tape parts realized at NHK Electronic music studio. 29:50 01:15:50 11. Kuniharu Akiyama, “Noh-Miso” (track 1) (1962). Tape music. Hitomi-Za is an experimental puppet theatre group. They had performed in February 13-17 in 1962 at Sogetsu Kaikan Hall. This program was consisted of three parts, and Joji Yuasa, Kuniharu Akiyama and Naozumi Yamamoto composed background sound for each part. 01:44 01:45:40 12. Toshi Ichiyanagi, “Parallel Music” (1962). Tape music recorded at NHK Electric Music Studio, Tokyo Japan. 09:12 01:47:22 13. Kuniharu Akiyam, “Demonstration of Nissei Theater” (excerpt) (1963). “Demonstration of Nissei Theater” composed in 1963 for a public demonstration of the stage machinery of the newly opened Nissei Theatre in Tokyo. 05:15 01:56:36 14. Toshi Ichiyanagi, “Sound Materials for Tinguely” (1963). “Music For Tinguely” was composed at the studio of Sogetsu Art Center. This rare track comprises sound materials used for that composition. 03:31 02:01:54 15. Joji Yusa, Tracks 1-4 (1963). Incidental music for NHK Radio, based on Andre Breton's "Nadja". "The actual chart of constellations was played by three players (violin, piano, vibraphone) which was supposed as the music score. And birds' voices, electronic sound, sound generated from inside piano, through music concrete technique and constructed at the NHK Electronic Music Studio." 04:24 02:05:26 16. Maki Ishii, “Hamon-Ripples (For Chamber Ensemble, Violin And Taped Music)” (1965). Tape piece for violin and chamber orchestra. 10:01 02:09:46 17. Joji Yuasa, “Icon on the Source Of White Noise” (1967). Tape work using white noise as material and designed for a multi-channel system. In the original version, several sound images of various widths (e.g. three loudspeakers playing simultaneously) moved at different speeds around the audience, who were positioned inside the pentagonal loudspeaker arrangement. 12:13 02:19:44 18. Makoto Moroi, “Shosanke” (1968). Tape work fusing electronic sounds with those of traditional Japanese instruments. 13:20 02:31:54 19. Minao Shibata, “Improvisation for Electronic Sounds” (1968). Tape piece for electronic sounds. 09:27 02:45:12 20. Toshi Ichiyanagi, “Love Blinded Ballad (Enka 1969)” from the Opera "From The Works Of Tadanori Yokoo" (1969). Tape collage. 06:57...
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    4 h y 22 m
  • Chapter 24, Electronic Music in Latin America

    Chapter 24, Electronic Music in Latin America
    Mar 23 2025
    Episode 163 Chapter 24, Electronic Music in Latin America. Works Recommended from my book, Electronic and Experimental Music Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let’s get started with the listening guide to Chapter 24, Electronic Music in Latin America from my book Electronic and Experimental music. Playlist: ELECTRONIC MUSIC IN LATIN AMERICA Time Track Time Start Introduction –Thom Holmes 01:34 00:00 1. Reginaldo Carvalho “Sibemol” (1956). Early electroacoustic work from Brazil. Composed in his home studio. 01:33 01:40 2. Mauricio Kagel “Transicion” (1958). Realized at the WDR studio, Cologne, Germany by this Argentinean composer.. 13:12 03:16 3. Hilda Dianda, “Dos Estudios en Oposición” (1959). An Argentinean composer and early experimenter with electronic music. The tape part for this early work likely composed in her home studio. 06:14 16:26 4. Mario Davidovsky, “Electronic Study No. 1” (1961). Realized at the Columbia-Princeton Electronic Music Center by this Argentinean composer. 05:44 22:40 5. Jorge Antunes, “Pequena Peça para mi Bequadro e Harmônicos” (1961). Realized by this Brazilian composer in his private studio. 03:47 28:24 6. César Bolaños, "Intensidad Y Altura" (1964). Electroacoustic work realized in CLAEM, Instituto T. di Tella, Buenos Aires by this Peruvian composer. 05:13 32:10 7. Hilda Dianda, “A7” (1964). Electroacoustic work for cello and tape from Argentina. Her electronic music work was associated with CICMAT, Buenos Aires. 15:04 37:24 8. Jacqueline Nova, “Oposición – Fusión” (1968). Realized by this Colombian composer in the Studio of fonologia de la Universidad nacionál de Buenos Aires. 10:28 52:28 9. Alcides Lanza, “Penetrations II” (1969). Realized at the Columbia-Princeton Electronic Music Center by this Argentinean composer. 09:58 01:02:56 10. Jorge Antunes, “Cinta Cita” (1969). Realized at the Columbia-Princeton Electronic Music Center by this Argentinean composer. 04:46 01:13:05 11. Jacqueline Nova, “Creación De La Tierra” (1969). Realized by this Colombian composer in the Studio of fonologia de la Universidad nacionál de Buenos Aires. 18:21 01:17:50 12. Eduardo Kusnir, "La Panadería Versión Electrónica" (1970). Electroacoustic work realized in CLAEM, Instituto T. di Tella, Buenos Aires by this Argentinean composer. 09:20 01:36:04 13. José Maria Neves, "Un-X-2” (1971). Electroacoustic work realized in the "Centre Americain," Paris by this Brazilian composer. 08:54 01:45:22 14. Oscar Bazán, "Parca" (1974). Electroacoustic work realized in CICMAT, Buenos Aires by this Argentinean composer. 08:49 01:54:12 15. Jacqueline Nova, “Montaje Electroacústico A Partir De Materiales” De La Música Original De La Película Camilo El Cura Guerrillero (1974). Realized by this Colombian composer in the Studio of fonologia de la Universidad nacionálde Buenos Aires. 08:14 02:03:00 16. Juan Blanco, “Tañidos” (1983). Realized by this Cuban composer at the Estudio Electroacústico Del Instituto Cubano De Amistad Con Los Pueblos (ICAP). 12:53 02:11:14 17. Syntoma, “No Me Puedo Controlar” (1983). Produced by this Mexican synth-pop band at Estudios Rack. 04:06 02:24:06 18. Juan Blanco, “Espacios II” (1984). Realized by this Cuban composer at the Estudio Electroacústico Del Instituto Cubano De Amistad Con Los Pueblos (ICAP). 08:45 02:28:12 Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.
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    2 h y 38 m
  • Chapter 22, Electronic Music in Canada

    Chapter 22, Electronic Music in Canada
    Mar 15 2025
    Episode 161 Chapter 22, Electronic Music in Canada. Works Recommended from my book, Electronic and Experimental Music This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let’s get started with the listening guide to Chapter 22, Electronic Music in Canada from my book Electronic and Experimental music. Playlist: ELECTRONIC MUSIC IN CANADA Time Track Time Start Introduction –Thom Holmes 01:34 00:00 1. Hugh LeCaine, “Dripsody: An Etude For Variable Speed Recorder” (1955). One of the earliest pieces of tape music by the inventor and composer Hugh Le Caine. Also, one of the most available works from the early years when it was used to demonstrate simple techniques of tape composition. It is probably the most-played work of electronic music other than “Poeme Electronique” by Varese. Every sound in this work is based on a recording of a single drop of water falling into a bucket, which then underwent various speed adjustments and edits to create this composition. 2:12 01:38 2. Hugh LeCaine, “Ninety-Nine Generators” (1956). The title refers to the 99 tones of the touch sensitive organ. Each note had a separate generator and they could all sounds at the same time. 1:42 03:40 3. Hugh LeCaine, “This Thing Called Key” (1956). Le Caine composed on his Special Purpose Tape Recorder using individual tape playback heads for six tapes, activated by keys. 1:53 05:22 4. Anhalt, “Electronic Composition No. 2” (1959). 8:47 07:16 5. Norma Beecroft, “From Dreams of Brass” (1964). Norma Beecroft is a Canadian composer, producer, broadcaster, and arts administrator. Among the pioneering academic electronic music composers, she worked independently in the Electronic Music Studio of the University of Toronto. 15:59 16:04 6. Paul Pedersen, “For Margaret, Motherhood And Mendelssohn” (1971). Composed at McGill University where Pedersen was director of the electronic music studio. The electroacoustic work uses fragments of speeches such as prime minister Pierre Trudeau’s and the electronic sounds were composed using Le Caine’s Polyphonic Synthesizer. 4:21 32:02 7. Micheline Coulombe Saint-Marcoux, “Zones” (1972). Musique électroacoustique réalisée au Sonic Research Studio, Université Simon Fraser, Vancouver. An exploration of different instrumental timbres using electroacoustic music. 9:02 36:22 8. Alcides Lanza, “Eidesis IV For Wind Ensemble And Electronic Sounds” (1977). Lanza studied music in Buena Aires, moved to Canada in 1971, and became Director of the Electronic Music Studio of McGill University in 1976. 11:20 45:24 9. John Mills-Cockell, “Collision” from Gateway (1977). Produced, engineered, organ and synthesizer by independent Canadian musician John Mills Cockell. 03:32 56:54 10. Dennis Patrick, “Phantasy III (Excerpt)” (1977-78). Completed in the Electronic Music Studio of the University of Toronto, where he was Director of the studio beginning around 1976. 04:53 01:00:26 11. Hildegard Westerkamp, “Cricket Voice” (1987). This work is a “musical exploration of the cricket,” with a cricket sound recorded in Mexico. If you know crickets, you will note that this one is not Canadian. But the composer is and this work was produced at the Simon Fraser University in Vancouver where Westerkamp was teaching at the time. 11:09 01:05:20 12. Ann Southam, “Fluke Sound” (1989). Southam is another female Canadian composer of note. She is from the Toronto area. This work is from a period when she was immersed in electroacoustic music. 10:22 01:16:16 13. Norma Beecroft, “Evocations: Images Of Canada (1992). In contrast to the earlier tape works of Beecroft, this is a purely digital composition. She used an Apple Macintosh, the program/sequencer Performer and a Roland D-70 synthesizer. 16:01 01:26:30 Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on ...
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    1 h y 43 m
  • Chapter 23, Radiophonic Music in the United Kingdom

    Chapter 23, Radiophonic Music in the United Kingdom
    Mar 14 2025
    Episode 162 Chapter 23, Radiophonic Music in the United Kingdom. Works Recommended from my book, Electronic and Experimental Music This episode of the podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let’s get started with the listening guide to Chapter 23, Radiophonic Music in the United Kingdom from my book Electronic and Experimental music. Playlist: RADIOPHONIC MUSIC IN THE UNITED KINGDOM Time Track Time Start Introduction –Thom Holmes 01:36 00:00 1. Daphne Oram, “Introduction to Oramics” (1960). Introduction to her Oramics studio and processes for making electronic music. Voice and musical examples by Daphne Oram, recorded in her home studio Tower Folly, Kent. 04:37 01:38 2. Daphne Oram, “Four Aspects” (1960). Tape composition by Daphne Oram recorded in her home studio Tower Folly, Kent. 08:07 06:14 3. Delia Derbyshire, “Doctor Who Theme” (Closing Credits) (1962). The most famous version of this theme for the popular television program, composed by Ron Grainer and realized by Derbyshire at the BBC studios. 02:23 14:20 4. Ray Cathode (George Martin), “Time Beat” (1962). Produced at the BBC Radiophonic Workshop. Written and produced by George Martin, around the time when he was starting his production work with The Beatles. 02:11 16:40 5. Ray Cathode (George Martin), “Waltz in Orbit” (1962). Produced at the BBC Radiophonic Workshop. Written and produced by George Martin, around the time when he was starting his production work with The Beatles. 01:52 18:52 6. Daphne Oram, “Costain Suite” (1964). Tape composition by Daphne Oram recorded in her home studio Tower Folly, Kent. 13:17 20:44 7. Delia Derbyshire, “Running” (1964). One of the seven parts from the “radio inventions” called "The Dreams," first broadcast on the BBC Third Programme, Sunday 5th January 1964. 08:08 34:02 8. Delia Derbyshire, “Falling” (1964). One of the seven parts from the “radio inventions” called "The Dreams," first broadcast on the BBC Third Programme, Sunday 5th January 1964. 08:45 42:08 9. Delia Derbyshire, “Land” (1964). One of the seven parts from the “radio inventions” called "The Dreams," first broadcast on the BBC Third Programme, Sunday 5th January 1964. 07:02 50:54 10. Daphne Oram, “Pulse Persephone” (1965). Tape composition by Daphne Oram recorded in her home studio Tower Folly, Kent. 04:03 58:06 11. Tristram Cary, “Sputnik Code” (1968). Cary was a British composer and pioneer of electronic music. He composed this work for a movie soundtrack. 01:50 01:02:08 12. Lily Greenham, “ABC in Sound” (1968). Early tape work by this pioneer of electronic music in the UK. Greenham was an Austrian-born Danish visual artist, performer, composer and leading proponent of sound poetry and concrete poetry. She settled in London. 02:39 01:04:02 13. White Noise (Delia Derbyshire, David Vorhaus, Brian Hodgson), “The Black Mass: An Electric Storm In Hell (The White Noise)” (1969). Experimental electronic music project established in London in 1968, originally as a group project between David Vorhaus and BBC Radiophonic Workshop members Delia Derbyshire and Brian Hodgson. Vocals by Annie Bird, John Whitman, Val Shaw. 07:20 01:06:40 14. White Noise (Delia Derbyshire, David Vorhaus, Brian Hodgson), “Your Hidden Dreams” (1969). Experimental electronic music project established in London in 1968, originally as a group project between David Vorhaus and BBC Radiophonic Workshop members Delia Derbyshire and Brian Hodgson. Vocals by Annie Bird, John Whitman, Val Shaw. 04:55 01:13:58 15. White Noise (Delia Derbyshire, David Vorhaus, Brian Hodgson), “Love Without Sound” (1969). Experimental electronic music project established in London in 1968, originally as a group project between David Vorhaus and BBC Radiophonic Workshop members Delia Derbyshire and Brian Hodgson. Vocals by Annie Bird, John Whitman, Val Shaw. 03:07 01:18:52 16. Electrophon (Brian Hodgson, Dudley Simpson), “Arrival of the Queen of Sheba” (Händel) (1973). Electronic interpretations of classical music for various synthesizers. 03:04 01:22:00 17. Paddy Kingsland, “Fourth Dimension” (1973). Produced by ...
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    1 h y 54 m
  • Chapter 21, The San Francisco Tape Music Center

    Chapter 21, The San Francisco Tape Music Center
    Mar 9 2025

    Episode 160

    Chapter 21, The San Francisco Tape Music Center. Works Recommended from my book, Electronic and Experimental Music

    Welcome to the Archive of Electronic Music. This is Thom Holmes.

    This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text.

    The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings.

    There is a complete playlist for this episode on the website for the podcast.

    Let’s get started with the listening guide to Chapter 21, The San Francisco Tape Music Center from my book Electronic and Experimental music.

    Playlist: THE SAN FRANCISCO TAPE MUSIC CENTER

    Time

    Track Time

    Start

    Introduction –Thom Holmes

    01:30

    00:00

    1. Terry Riley, “Mescalin-Mix” (1960-62). Early tape collage and one of Riley’s first works for tape.

    14:23

    01:38

    2. Terry Riley, “Concerto For Two Pianos and Five Tape Recorders” )1961). Piano, LaMonte Young; piano and tape assemblage, Terry Riley. Recorded live. 1961 Riley-Terry_ConcertoForTwoPianos-b.wav

    04:36

    15:56

    3. Pauline Oliveros, “Apple Box Double” (performance 2008). This piece was composed for various configurations of apple crates that were touched and scraped with various objects while being amplified. The original dates from about 2006. This performance by Seth Cluett and Oliveros took place in 2008.

    12:45

    20:30

    4. Steve Reich, “Melodica” (1966). Tape piece and the last of Reich’s works before moving onto instrumental composition in his minimalist style.

    10:42

    33:16

    5. Morton Subotnick, “Laminations” (1966). For orchestra and electronic sounds, on tape. By this point, Subotnick was working with an early model of a synthesizer built for the San Francisco Tape Music Center by Donald Buchla. This synthesizer material was also used for the opening of Silver Apples of the Moon the following year.

    10:29

    44:08

    6. Morton Subotnick, “Prelude No.4 for piano and electronic tape (1966). Another Subotnick work for instruments and tape with synthesized electronic sounds.

    06:58

    54:36

    7. Pauline Oliveros, “Alien Bog” (1967). Utilizing the original Buchla Box 100 series created for the Tape Music Center by Don Buchla and a tape delay system.

    33:17

    01:01:30

    8. Morton Subotnick, “Silver Apples of the Moon” (1967). Subotnick, recently departed from San Francisco and taking up shop at New York University, brought synthesizers constructed for him by Don Buchla when he was at the San Francisco Tape Music Center. This electronic composition represented a high point for the use of synthesizers at that time and was recorded on commission from Nonesuch Records.

    32:01

    01:35:00

    Additional opening, closing, and other incidental music by Thom Holmes.

    My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.

    See my companion blog that I write for the Bob Moog Foundation.

    For a transcript, please see my blog, Noise and Notations.

    Original music by Thom Holmes can be found on iTunes and Bandcamp.
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    2 h y 8 m
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