The Holmes Archive of Electronic Music

• Chapter 24, Electronic Music in Latin America

  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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• Chapter 22, Electronic Music in Canada

  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 iTunes and Bandcamp.

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  1:43:28
• Chapter 23, Radiophonic Music in the United Kingdom

  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 Kingsland for the BBC Radiophonic Workshop. “The synthesisers used on this disc are both British, and both made by E.M.S. of London. They are the VCS3, an amazingly versatile miniature synthesiser, and its big brother, the Synthi '100', known within the Radiophonic Workshop as 'The Delaware', after the address of the Workshop.” 02:19 01:25:02 18.   Lily Greenham, “Traffic” (1975). Realized at the Electronic Music Studio, Goldsmiths' College, University of London. Technical Assistance, Hugh Davies. 10:33 01:27:18 19.   White Noise (David Vorhaus), “Concerto Movement 1” (1975). Used what Vorhaus called the Kaleidophon Synthesizer that included two EMS VCS 3’s connected via a console of electronic modules he designed. 11:33 01:37:50 20.   Delia Derbyshire, “Dreaming” (1976). Produced for the BBC Radiophonic Workshop as a work to accompany a television program. 01:13 01:49:18 21.   Glynis Jones, “Crystal City” (1976). Produced for the BBC Radiophonic Workshop as a work to accompany a television program. 01:01 01:50:30 22.   Glynis Jones, “Magic Carpet” (1976). Includes three shorts works, Magic Carpet Take-Off, Magic Carpet Flight and Magic Carpet Land. Produced for the BBC Radiophonic Workshop as sound effects. 00:50 01:51:30 23.   Brian Hodgson, “Tardis Land” (1976). Produced for the BBC Radiophonic Workshop as a sound effect. 00:23 01:52:22   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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  1:53:47
• Chapter 21, The San Francisco Tape Music Center

  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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  2:08:00
• Chapter 20, The Experimental Music Studio, University of Illinois

  Episode 159 Chapter 20, The Experimental Music Studio, University of Illinois. 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. Playlist: THE EXPERIMENTAL MUSIC STUDIO, UNIVERSITY OF ILLINOIS Time Track Time Start Introduction –Thom Holmes 01:32 00:00 1.     Lejaren Hiller, “Nightmare Music” (1961). Tape composition produced at the Experimental Music Studio, University of Illinois. 09:41 01:34 2.     Charles Hamm, “Canto, For Soprano, Speaker & Chamber Ensemble” (1963). Produced at the Experimental Music Studio, University of Illinois. 06:25 11:16 3.     Lejaren Hiller, “Computer Cantata, For Soprano, Chamber Ensemble and Tape” (1963). Produced at the Experimental Music Studio, University of Illinois. 23:09 17:38 4.     Herbert Brün, “Futility, For Speaker And Tape” (1964). Produced at the Experimental Music Studio, University of Illinois. 07:50 40:34 5.     Lejaren Hiller, “Machine Music, For Piano, Percussion And Tape” (1964). Produced at the Experimental Music Studio, University of Illinois. 13:15 48:22 6.     Kenneth Gaburo, “Lemon Drops” (1965). Tape composition produced at the Experimental Music Studio, University of Illinois. 02:55 01:01:40 7.     Salvatore Martirano, “Underworld” (1965). Tape composition produced at the Experimental Music Studio, University of Illinois. 16:55 01:04:36 8.     Kenneth Gaburo, “For Harry” (1966). Tape composition produced at the Experimental Music Studio, University of Illinois. 03:41 01:21:32 9.     Lejaren Hiller, “Suite For Two Pianos And Tape” (1966). Produced at the Experimental Music Studio, University of Illinois. 18:30 01:25:16 10.   Lejaren Hiller, “Computer Music for Tape & Percussion” (1968). Produced at the Experimental Music Studio, University of Illinois. 06:52 01:43:42 11.   Salvatore Martirano, “The SalMar: Part One” (1983). Performance by Martirano in Paris in 1983 using the one-of-a-kind Sal-Mar Construction designed for real-time performance of electronic music. It was created from 1969 to 1972 at the University of Illinois. 18:59 01:50:26   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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  2:10:28

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