Intro To Music

Front 1

Etude aux Chemins de Fer

Back 1

Schaeffer (1948)
Railroad study
Sounds made from trains
Cutting, splicing, loops, direction change, speed change, echo

Front 2

Sonic Contours

Back 2

Ussachevsky (1952)

Pianist – Used tape recorder to streth limits of piano sound
Direction change, speed change, envelope manipulation, tape delay, recursive filtering (every time the sound echos, its timbre changes)

Front 3

Thema (Ommagio a Joyce)

Back 3

Luciano Berio (1959)

Opera singer Cathy Berbarian
Reading “Ullyses” by James Joyce

Front 4

It's Gonna Rain

Back 4

Reich (1965)
Sections:
1) Preacher w/o edits
2) Sliding window
3) Two loops playing at different speed

Front 5

Concrete-P.H.

Back 5

Xenakis (1958)

Phillips Pavilion, 58 Brussels World Fair
425 speaker panning on parabolically curved walls
Burning coal

Front 6

Tomorrow Never Knows

Back 6

Beatles (1966)

1966 “Revolver” album
4 Track tape deck
Tape loops, direction change, voice through rotating speaker

Front 7

Revolution 9

Back 7

Beatles (1968)
Musique Concrete
Tape loops of BBC

Front 8

Gesang der Junglinge

Back 8

Stockhausen (1957)

11 year old boy soprano
Cologne studio
Change pitch, timbre, special placement
Inspired beatles Lonely hearts club band

Front 9

Poeme Electronique

Back 9

Varese (1958)

Recorded acoustic instruments
Phillips Pavillion

Front 10

Deserts

Back 10

Varese (1954)
First major piece for taped sounds and acoustic instruments
Put together at RTF studio (Schaeffer)
Premiered in Paris
Alternates acoustic and taped parts
“Industrial sound”

Front 11

Synchronism No. 6 For Piano and Electronic Sounds

Back 11

Davidovsky (1970)

Columbia-Princeton studio
Pulizer prize
Interplay between Piano and tape sounds

Front 12

Mikrophonie I

Back 12

Stockhausen (1964)

Tam-tam with various objects.
Two performers move microphones. Two more process sounds and pan them live.

Front 13

Pendulum Music

Back 13

Reich (1968)

Swinging microphones over amp
Published as instructions

Front 14

Cindy Electronium

Back 14

Scott(1959)
A one-off (i.e. one-of-a-kind, singular) synthesizer designed and built by Scott and R.A. Moog.

Front 15

Air on the G String

Back 15

Carlos(1968)
"Switch-on Bach" Moog Modular synth

Front 16

Phosphones

Back 16

Ghent (1971)
Groove Synth, bell Labs

Front 17

Computer Piece No. 1

Back 17

Vladimir Ussachevsky (1968)

Simple experimental piece by Ussachevsky
Beginning of piece is a meditation on changing over tones

Front 18

He Destroyed her Image

Back 18

Dodge (1972)

Utilizes voice recorded and analyzed by a computer
“Human like” voice with flecibility of electronic instrument
“Talk box”
Very low sampling rate, lacks high frequencies

Front 19

Mutations

Back 19

Jean-Claude Risset (1969)
Shepart Tones at end. Continues to move upward without ever going out of range.
Bell Labs

Front 20

Stria

Back 20

Chowning (1977)

Computer synth technique that emulated bell and brass tones by way of frequency modulation with sine waves.
Technology used to creast the Yamaha DX7
Slowly warped timbers

Front 21

Six Fantasies On A Poem By Thomas Campion: Her Song

Back 21

Paul Lansky (1978)
Uses computer as vocoder. Real voice spoke poem. Combines it with electronic tones, giving the computer a strangely human quality.

Front 22

William's Mix

Back 22

Cage(1951)

Cage imagined a broad sound-world, then divided it into six categories:
A) country sounds
B) city sounds
C) electronic sounds
D) manual sounds (including acoustic musical instruments)
E) wind sounds (including singing)
F) sounds so quiet that they require amplification to be heard
The sounds were ordered by throwing three coins to generate a random sequence of numbers between 1 and 64. The end effect is a constantly vibrant experience that is continually shifting between sounds not ordinarily heard together.