Electronic and experimental music: pioneers in technology by Thom Holmes

By Thom Holmes

Digital and Experimental track is a moment version of a well known textual content at the historical past of digital song. Holmes' unique booklet, first released in 1985, was once a beginner's creation either to the theories of sound and sound construction and to the historical past of a few of the earliest experiments in device development and composition. during this re-creation, the writer completely updates and enlarges the theoretical and historic sections. He additionally offers new fabric on utilizing domestic pcs and the numerous software program and web assets to be had.

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This limited circle of pure sounds must be broken, and the infinite variety of noise-sound conquered. We Futurists have deeply loved and enjoyed the harmonies of the great masters. For many years Beethoven and Wagner shook our nerves and hearts. Now we are satiated and we find far more enjoyment in the combination of the noises of trams, backfiring motors, carriages and bawling crowds than in listening again, for example, to the Eroica or the Pastorale. Away! Let us break out since we cannot much longer restrain our desire to create finally a new musical reality, with a generous distribution of resonant slaps in the face, discarding violins, pianos, double-basses and plaintive organs.

This gave much of their music its detached, disembodied serenity. Vexations (1893) was Satie’s most enigmatic and abstract work. ” This previously unknown work was brought to 32 ELECTRONIC AND EXPERIMENTAL MUSIC the attention of John Cage in 1949, and in 1963 Cage produced its first performance using a relay team of ten pianists. The performance took more than eighteen hours. Had the term “minimalism” been in vogue at the time, Vexations would no doubt have been branded as its granddaddy. Cage summed up the performance in this way: The experience over the 18 hours and 40 minutes of those repetitions was very different from the thought of them or the realization that they were going to happen.

Once it hit the drone, I would pull the plug on the machine and the whole thing ended. It’s the ultimate process piece. It’s me making my peace with Cage. It’s audible sculpture. 22 What began as a straightforward compositional process ended with the cacophony of an opposing process: uncontrolled electronic feedback. 1949) has been creating electronic music using only feedback for over twenty years. His is not feedback of the acoustic variety, however, for the sound does not result from the interference of a highly amplified signal in the proximity of a loud-speaker.

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