"Really awful is more interesting to listen to than pretty good" - Eno ................................................................................................................................................................................................................. welcome to the drivel blog of "music detractor, Simon Reynolds"
Showing posts with label ELECTRONIC MUSIC. Show all posts
Showing posts with label ELECTRONIC MUSIC. Show all posts
Hitherto unavailable on the internet, a special treat just for you, from this library rarity.
I especially commend the second Alcides Lanza piece, "One for the Road" - at 1.20 minutes in. Described on the tracklist as "heavy, scooping", this 1970 track preempts the whooshing Doppler Effect / Dark Tunnel of Vrooom section of Kraftwerk's "Autobahn"
And here's another suite of electro interludes by Emmanuel Ghent from the same record.
"In 1969, with the assistance of a Guggenheim fellowship that he had been awarded in 1967, he began a 10-year residency at the computer-controlled electronic music studio of the Bell Telephone Laboratories. Here, he began working with the GROOVE Computer System, which made it possible have real-time control over both music and lighting effects. With this program, he composed Phosphones (1971), his first collaboration with the Mimi Garrard Dance Company. This established the beginning of a long collaboration that Ghent had with Garrard and her husband, kinetic sculptor James Seawright. The score of Phosphones contained two tracks, a music track and a lighting one, which was an integral part of the composition. Phosphones was the first of five collaborations between Garrard and Ghent that took place between 1971 and 1974. In 1974, he began to create computer programs that would be equipped to make certain choices about pitch and rhythm. The computer came a “co-composer” of sorts." - from this obituary at New Music USA
Dr. Emmanuel Ghent: We were doing all sorts of experimenting with what kinds of sounds we could make and how to control them. I think the first piece I wrote there (at Bell Labs) was using African drumming rhythms. It was called Battery Park. It’s based on standard African rhythms, except that the pitches of the drums are changing. Also, around that time I wrote a piece for violin called Helices. A lot of it was made on a kind of semi-random basis, where you could turn dials and change events within the piece. It was not very well controlled. But to come up to where I began getting the computer to compose, that comes up a few years later.... In 1970 I started working with some electronic circuits that Max [Mathews] had built, which made drumlike sounds. He called them resonants.... I used those to write a piece called Phosphones. At the same time it occurred to me that if we could use the computer to make music, if we had some way of translating the what are called ‘functions of time’, into some way of controlling theatrical lights, we could also control the lighting. Synchronize them. So that’s when Jimmy (Seawright) and I got the idea of “Hey, maybe we could even get the GROOVE program to also punch out paper tape which we could hook up to this old machine over here…” (the coordinome, invented by Ghent, described earlier in the discussion).
There is not a huge amount of Ghentronica readily available in the world but another composition "Hex, an Ellipsis" for trumpet, instruments, and tape can be heard right here
Ghent did the audio to this Lillian Schwartz work from 1971, "UFO's" (which she made with Ghent's Bell Labs colleague Ken Knowlton)
Ghent also contributed to this recording
"released in 1969 in response to the first moon landing"
Woah, by chance (looking up someone else) stumbled on this motherlode of Ghentronica disguised as a Boosey & Hawkes library record (although I'd have to buy the album in question to actually hear it, of course). (Julian House recommends such a purchase).
Emmanuel Ghent, a significant contributor to the development of computer music and a noted psychoanalyst, died on Sunday, March 30. He was 77. His daughter, Valerie Ghent, explained that his death “was very unexpected and we are all still very much in shock.” She went on to describe her father as “an innovator, an inventor, a composer, a programmer, a brilliant analyst, and dearly loved and deeply loving man.”
Composer and vocalist Joan LaBarbara added: “Manny was more than a musician. For some of us, he was our protector and confessor; he guarded our souls, our demons and our private spaces and took our secrets with him. His gentle smile and quiet wisdom will remain in our hearts.”
Born in Montréal on May 15, 1925, Ghent’s interest in music began when he was 14 years old. He played timpani in the school orchestra and began arranging and composing works for small chamber ensembles. He further developed his talents by taking classes at the McGill Conservatory of Music while he pursued a major in biochemistry at the university. Balancing these two separate passions would define the rest of his dual-career. After receiving his bachelor of science, he attended the McGill University Faculty of Medicine for four years and graduated with highest honors as an M.D. in 1950. The next year, 1951, he moved to New York City, where he studied at the W.A. White Institute. He received his diploma in psychoanalysis in 1956. In 1961, he was hired as a faculty member at New York University and became an American citizen in 1962.
Between 1946 and 1960, very little of Ghent’s time was devoted to composition. He wrote a few chamber pieces including three duos for flutes, a wind quintet, and a string quartet, but it wasn’t until he completed a quartet for winds in 1960 that composition re-entered his life with the same importance it had held for him in high school. At this point, he began private studies in composition with Ralph Shapey. In addition to the influence of Shapey’s own music, Ghent was inspired greatly by the work of Edgard Varèse and Igor Stravinksy. Throughout the 1960s, he primarily composed chamber works that engaged multi-tempo rhythmic relationships and intervallic harmonic/melodic structuring. Often these pieces involved spatial separation between players. In order to help his players stay together in such adverse conditions, he invented the “coordinome,” a tape device that decoded one aggregate signal into individual tracks, which was transmitted to the performers via an earphone, allowing them to each have a personal conductor of sorts and maintain independent tempi and meters. Composer Morton Subotnick was working at the Bell Labs while Ghent was there. “My time with Manny was in the late 60’s, a time of experimentation, change, and excitement,” he remembers. “But, with all the change over the years, some memories remain fixed. Watching Manny work with the musicians wearing headphones and playing to independent click tracks is a memory fixed forever.”
This predilection for inventing new musical technologies attracted Ghent to the Columbia Princeton Electronic Music Center and in 1969, with the assistance of a Guggenheim fellowship that he had been awarded in 1967, he began a 10-year residency at the computer-controlled electronic music studio of the Bell Telephone Laboratories. Here, he began working with the GROOVE Computer System, which made it possible have real-time control over both music and lighting effects. With this program, he composed Phosphones (1971), his first collaboration with the Mimi Garrard Dance Company. This established the beginning of a long collaboration that Ghent had with Garrard and her husband, kinetic sculptor James Seawright. The score of Phosphones contained two tracks, a music track and a lighting one, which was an integral part of the composition. Phosphones was the first of five collaborations between Garrard and Ghent that took place between 1971 and 1974. In 1974, he began to create computer programs that would be equipped to make certain choices about pitch and rhythm. The computer came a “co-composer” of sorts. He also became interested in amplification of traditional acoustic instruments and often used them in conjunction with his electronic tracks. In the late ’70s, he revitalized his fascination with intervallic relationships and began constructing computer programs that dealt with the realization of intervallic groupings. The programs that he created were integral to the development of computer music and continue to be influential today. Throughout his career he also collaborated with a variety of artists including composers Ben Johnston and Ornette Coleman, sculptor Peter Nicholson, choreographer Gladys Baylin, filmmakers Lillian Schwartz and Ken Knowlton, trumpeter Ronald Anderson, violinist Paul Zukofsky, and violist John Graham.
Recordings of his music are available on Wergo, Capstone, and West Street Records and his music is published by the Oxford University Press and Subito. Shortly before his death, his daughter Valerie, a record producer, vocalist, and keyboardist, released a recording of “Songs for Children and All Their Friends,” a set of 23 songs that Ghent had written on the occasion of the birth of his youngest daughter, Theresa, in 1967. By the end of 2003, the New York Public Library Music Research division plans to make all of Ghent’s works, which he had already had transferred from analog to digital formats, available online.
And while his musical biography seems rich enough to fill up his days, Ghent maintained a part time psychotherapy practice through all of this and was also a Clinical Professor of Psychology at the Postdoctoral Program in Psychoanalysis at NYU. In 1988, he was instrumental founding NYU’s Relational Orientation program in psychoanalytic theory. He was also a < Supervising Analyst at the W.A. White Institute, an associate editor of Psychoanalytic Dialogues: A Journal of Relational Perspectives, and a member of the International Association of Relational Psycholanalysis and Psychotherapy (IARPP). He is also credited with the creation of the JLIST Computer Program and Database: A Psychoanalytic Journal Bibliographic and Information Retrieval System. According to his daughter Valerie, even at the time of his passing he was still “teaching, writing, supervising, editing, and planning many projects.” He was in the middle of teaching the first semester of a class he had developed called “Psychoanalysis and Buddhism.” He was a practicing Buddhist himself. He was an avid lecturer and writer on both musical and psychoanalytical topics.
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He didn't just do electronic and computer music. And this - unfindable on the internet - is electro-acoustic. "The electronic tape was composed at the Bell Telephone Laboratories with the user of the GROOVE program and a Honeywell DDP 224 computer."
"Before we go on, Janet Beat does exist. This is not some invented composer, cunningly dreamt up so I can sell some modern sonic noodlings as old ones to unsuspecting record buyers. I say this as it has happened in this market before and her name could easily arouse some suspicion. But yes, Janet Beat actually exists and she’s certainly one of the best examples of nominative determinism I have ever personally come across. However, even though Janet Beat does make music, she does not make beats.
"Very few people have heard of her or heard her music. And, with this release, as we are entering a rather crowded musical market (one full of wondrous new old discoveries, represses, reissues etc), I thought hard about what to call it. Having batted about things like “Electronic Lady”, “The Beat Goes On” and other such obvious tripe, I looked long and hard at the photo she sent me of her in her home studio in the 1960s. The one on the front of this sleeve. The album title quickly became obvious, and I sent it over to Janet explaining that although it was a little suggestive, it was true and would work very well on lots of levels. It was also relevant and a little attention grabbing. Janet instantly replied and gave me the OK, saying that as she was over 80, she’d leave the cool decisions to me.
"So, who exactly is Janet Beat? She’s written a small bio for us here, but I first came across her via legendary Glaswegian collector and chum Andrew Divine, who mentioned an electronic cue on a 1981 privately pressed LP by the Scottish Society Of Composers. I tracked her down and suggested we release all her music to a wider audience. Janet was thrilled by the idea, and our first long conversation revealed much about the battles she’d fought following her calling of a life in music.
"She’d submerged herself into tape manipulation and concrete composition in the early 1960s. This went against her father’s wishes (music was no job for a woman) and he ended up using all her original tapes to hold up his tomato plants in the kitchen garden. So, although she was composing and creating wild music in that period, it’s all gone and will never be heard again. She battled on with her music through the following decades, even playing live at specialist electronic events and concerts. But here, where you’d expect enthusiastic support, she found that fellow male musician would sabotage her equipment, steal power leads, damage her chances of playing live whenever they could. I found these stories quite shocking - having never heard such things from any other female musician of that early period. I knew the career was a tough one, but never knew it had reached such unpleasantly low levels. But now Janet has told me what she went through, I'm sure she wasn’t alone. And this could possibly explain the dearth of female artists emerging from the early scene.
"Musically on this album we have her electro-acoustic compositions that have survived, dating from 1978 onwards. As you will hear, Janet is a unique talent, conjuring all sorts of sublime musical visions from limited resources. Some of it sounds like Forbidden Planet, some of it sounds like it has come from another planet."
- Jonny Trunk
JANET BEAT BIOGRAPHY
"Janet Beat (b.1937) was always fascinated by sound. As a child, she would put her ears close to struck objects and hear the harmonics which she called “rainbow sounds”. She also put her ears against tree trunks and the ground to hear the rabbits thumping. Her first piece of music was written for her toy piano when she was three and a half years old, which she knew how to write down. She studied music at Birmingham University. In the late 1950s after hearing some of Pierre Henry's sound poems, she became interested in musique concrète. Then she began experimenting in this field herself. When lecturing at Worcester College of Education (now Worcester University) with the help of the physics lecturer she began a course in electronic music in the mid-1960s. In the 1970s, she initiated electronic and recording studios at the RSAMD (now the Royal Scottish Conservatoire). Later she lectured on multisound diffusion at Glasgow University. She overcame much opposition to her creative career from parents and the musical world as women “do not do” composing and technology. Even her father used her earliest tapes to tie up his plants in the kitchen garden. However, despite all opposition she has gained recognition and commissions worldwide which have included a Lifetime Achievement Award from Scottish Women Inventing Music (SWIM) as a composer, music educator and writer on music."
bonus sleeves from Disc, the precursor label to Folkways
further reading - essay onRonald Clyne by Andrew W. Hurley
"The front “cover” consisted of a paper wrapper glued over a plain sleeve, the black cardboard textured like aged leather. The wrapper only reached about one-third of the way around the back of the album, and a list of the tracks to be heard within sometimes was printed on the back to give you a clue of what you were buying. Inside the sleeve, a heavy piece of cardboard was inserted to create two pockets. In one, a booklet of notes was inserted, sometimes as little as four pages, but more often expanding to thirty or more pages of background notes, photographs, and song lyrics; in the other pocket the record was placed, somewhat heavier than a typical vinyl album. Folkways albums were decidedly different; difficult to find in record stores outside of major cities, priced higher than normal albums, treasured and passed eagerly from listener to listener, their very obscurity making them that much more desirable" - Richard Carlin, Worlds of Sound
"Ronald Clyne, who designed an estimated 500 covers for Folkways Records, contributed to the distinctive “otherness” of its recordings. The physical alterity of a Folkways record was not the end of the matter. The label also had a special philosophy, and Clyne’s design complemented it well...
A modernist by inclination.... There was also some overlap between his own interest in tribal, or what he called “world” art, and the label’s large “Ethnic Folkways” sub-catalogue.
"The look with which Clyne’s designs are associated was partly a result of aesthetic choices, and partly one of material realities. To the latter must be reckoned the low budget of Folkways Records. Whilst Clyne typically worked with two-colour printing—and made a virtue out of it—occasionally only one colour was available. The use of cheaper matte printing stock also contributed to the Folkways look. This, together with Clyne’s frequent predilection for autumn tones, contributed to an “earthiness,” which could easily be rhymed with the homespun, “authentic” nature of the music that the records contained.
".... Clyne’s most typical (and effective) designs used type in a very “clean” manner. These exhibit a great typographic economy, especially when using sans serif fonts, which is very much in key with Clyne’s overall design precepts.
"The other salient aspect is Clyne’s use of photography... Clyne was an accomplished painter, yet his Folkways designs almost never featured his paintings. An exception here is his early cover for Sounds of New Music (1958), a collection of modern compositions by John Cage, Henry Cowell, and others.... There was also a deeper association between photography and the documentary impulse behind Folkways. In many ways photography and Folkways shared the same ideology of transparency. If photography did not lie, then Folkways was also interested in “truth” and authenticity (not just in terms of the music and sounds that it sought to document, but also in terms of its “flat” recording philosophy). Beyond this, one can co-locate documentary photography and Folkways’ sonic documentation within the same progressive political context. As Robert Coles has indicated in his book, Doing Documentary Work (1997), many documentarians in mid-twentieth century America had a progressive politics in mind when they sought to take and publish their photographs and reportages...."
