Podcasts about edgard var

Episode 150 Chapter 11 Electronic Music Performance Instruments (1920– 40). 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: ELECTRONIC MUSIC PERFORMANCE INSTRUMENTS (1920– 1950)   Time Track Time Start Introduction –Thom Holmes 01:35 00:00 1.     Luigi Russolo, “Serenata” (1924). Mechanical noise-intoners and orchestra. 02:01 01:38 2.     Leon Theremin, “Deep Night” (1930). The inventor playing his own instrument. 01:48 04:16 3.     Orchestra Raymonde, “Romantique” (1934). Song featuring the Electronde, an instrument based on the Theremin made by Martin Taubman. 02:55 06:06 4.     Edgard Varèse, “Ecuatorial” (1934). Scored for chorus, small orchestra, organ, and two Ondes Martenots. Performance under the direction of Pierre Boulez in 1983. 12:11 09:00 5.     Paul Hindemith, “Langsames Stück und Rondo für Trautonium” (1935). Oskar Sala played the Trautonium. 05:29 21:02 6.     Olivier Messaien, “Oraison” (1937) for Ondes Martenot and orchestra. 07:43 26:34 7.     John Cage, “Imaginary Landscape No. 1” (1939). Radios and turntables playing test signals. 08:37 34:14 8.     Slim Galliard Quartet, “Novachord Boogie” (1946). Featured the Hammond Novachord organ/synthesizer. 02:57 42:50 9.     Lucie Bigelow Rosen, “That Old Refrain” (1948) for Theremin and piano. 03:25 45:48 10.   Miklós Rózsa. “Subconscious” from Spellbound (1948). Musical score for the Alfred Hitchcock film featuring Dr. Samuel J. Hoffman on Theremin. 02:07 49:14 11.   Clara Rockmore, “Valse Sentimentale” (Tchaikovsky) (1977) for Theremin. Later performance of the famous Thereminist from the 1930s-1940s. 02:07 51:22   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.

Episode 152 Chapter 13, Edgard Varèse and The Listener's Experiment. 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: CLASSICAL MUSIC WITH ELECTRONICS Time Track Time Start Introduction –Thom Holmes 01:28 00:00 1.     Edgard Varèse, “Déserts” (1954). Early combination of live orchestra with magnetic tape. 24:49 01:36 2.     Maurice Blackburn and Norman McClaren, “Blinkity Blank” (1955). Film score for five instrumentalists and sounds created by etching directly onto the soundtrack. 05:07 26:28 3.     Morton Subotnick, “Laminations” (1966). Live orchestra with electronic sounds on tape. 10:29 31:24 4.     Mario Davidovsky, “Synchronisms No. 5” (1969). For percussion quintet and electronic sounds on tape.  08:39 41:50 5.     Wendy Carlos, “A Clockwork Orange” (1971). Early analog synthesis of orchestral and choir sounds. 07:03 50:36 6.     Jacob Druckman, “Animus III” (1971). For clarinet and tape. 15:44 57:34 7.     Isao Tomita, opening four tracks from The Bermuda Triangle (1979) including themes by Prokofiev and Sibelius.  Analog electronic orchestration. 12:52 01:13:18 8.     Wendy Carlos, “Genesis” from Digital Moonscapes (1984). Completely digital orchestration. 07:10 01:25:58 9.     Robert Ashley, “Superior Seven” (1988). Live instruments with MIDI instrument accompaniment. 30:15 01:33:10 10.   William Orbit, “Adagio for Strings” (2000). Electronic realization of Samuel Barber orchestral work. 09:34 02:03:26     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.

Episode 157 Chapter 18, The Columbia– Princeton Electronic Music Center, New York. 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 COLUMBIA–PRINCETON ELECTRONIC MUSIC CENTER, NEW YORK Time Track Time Start Introduction –Thom Holmes 01:31 00:00 1.     Vladimir Ussachevsky, “Sonic Contours” (1952). Tape composition produced at the Columbia-Princeton Electronic Music Center. 07:24 01:36 2.     Otto Luening and Vladimir Ussachevsky, “Incantation For Tape” (1953). Tape composition produced at the Columbia-Princeton Electronic Music Center. 02:36 08:56 3.     Vladimir Ussachevsky, “Linear Contrasts” (1958). Tape composition produced at the Columbia-Princeton Electronic Music Center. 03:46 11:28 4.     Halim El Dabh, “Electronics And The Word” (1959). Tape composition produced at the Columbia-Princeton Electronic Music Center. 02:47 15:14 5.     Mario Davidovsky, “Electronic Study No. 1” (1960). Tape composition produced at the Columbia-Princeton Electronic Music Center. 05:44 17:56 6.     Otto Luening, “Gargoyles” (1960). Tape composition produced at the Columbia-Princeton Electronic Music Center. 09:27 23:42 7.     Vladimir Ussachevsky, “Wireless Fantasy” (1960). Tape composition produced at the Columbia-Princeton Electronic Music Center. 04:37 33:08 8.     Ihan Mimaroglu, “Prelude No. 8 (To the memory of Edgard Varèse)” (1966). Tape composition produced at the Columbia-Princeton Electronic Music Center. 04:00 37:44 9.     Pril Smiley, “Eclipse” (1967). Tape composition produced at the Columbia-Princeton Electronic Music Center. 07:56 41:38 10.   Milton Babbitt, “Occasional Variations” (1968-71).  Tape composition produced at the Columbia-Princeton Electronic Music Center. 09:56 49:46 11.   Bülent Arel, “Stereo Electronic Music No. 2 (1970). Tape composition produced at the Columbia-Princeton Electronic Music Center. 14:24 59:41 12.   Charles Dodge, “Changes” (1970). Tape composition produced at the Columbia-Princeton Electronic Music Center. 14:44 01:14:00 13.   Alice Shields, “The Transformation Of Ani” (1970). Tape composition produced at the Columbia-Princeton Electronic Music Center. 09:05 01:28:44 14.   Daria Semegen, “Electronic Composition No.1” (1971). Tape composition produced at the Columbia-Princeton Electronic Music Center. 05:53 01:37:48 15.   Bülent Arel and Daria Semegen, “Out Of Into” (1972). Tape composition produced at the Columbia-Princeton Electronic Music Center. 16:39 01:43:34 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.

Negativland has always been about media literacy; their pranks are not only humorous but reveal something about how media function. But in recent years, as the world has changed around them, their  relationship to this aspect of their practice has had to evolve. What was subversive in the 80s is mostly met with a shrug today. While sampling has become less essential to their work, the group continues to reappropriate and recontextualize human speech, and in an age of AI voice clones, the importance of using actual voices becomes even more significant. Last fall, I sat down with Negativland's Mark Hosler and Jon Leidecker (Wobbly) at Krakow, Poland's Unsound festival to discuss the history of their long running group, the importance of radio, and how the changing mediascape has transformed the meaning of their work as collage has gone mainstream. TRACKLIST ARTIST – “TITLE” (ALBUM, LABEL, YEAR) Negativland - “Is It Or Isn't It” (Speech Free: Recorded Music For Film, Radio, Internet and Television, Seeland, 2022) SP INTRO Don Joyce - “We'll Be Right Back [excerpt]” (Mort Aux Vaches, Mort Aux Vaches,  2020)Negativland - “Content” - (The World Will Decide, Seeland, 2020) Negativland - “5” (Negativland, Seeland, 1980)Negativland - “The Answer Is…” (Points, Seeland, 1981) Negativland - “Christianity is Stupid” (Escape from Noise, SST/Seeland, 1987) New Order - “Blue Monday” (Blue Monday 12”, Factory, 1983) Negativland - “I Still Haven't Found What I'm Looking For” (U2, Seeland, SST, 1991)Sarah Davachi - “ghosts and all” (Vergers, Important Records 2016) iPad Synth demo youtube Ipad Synth or Original IVCS3 compared to EMS Synthi AKS Negativland - “[Excerpt]” (Live at Unsound, 2023) Edgard Varèse  - “Poème électronique” [1958] (Poème Electronique And Other Selections, EAV Lexington, 1973) Karlheinz Stockhausen  - “Kontakte” [1958–60] (Kontakte, WERGO, 1963)Wobbly - Failure Analyst (Failure Analyst, Bandcamp, 2024)Christian Marclay - “Excerpt” (Live on Night Music 1988)Charli - “Apple” [tiktok] (brat, 2024)Negativland - “Failure” (The World Will Decide, Seeland,2020)Negativland - “True or False” (True False, Seeland, 2019) Negativland - “The Stain of Music”  (Over The Edge Vol. 9: The Chopping Channel, Seeland, 2016)Negativland - “Death Is Optional” (Speech Free: Recorded Music For Film, Radio, Internet and Television, Seeland, 2022)Negativland - “I Still Haven't Found What I'm Looking For” (U2, Seeland, SST, 1991)Negativland - “Algorithmic Me” (Speech Free: Recorded Music For Film, Radio, Internet and Television, Seeland, 2022) Chopping Channel - “Happiness Is The New Productivity” (Independent Therapy, 2016) Bana Haffar - “Castles in Beirut” (Castles in Beirut, Bandcamp, 2019) Negativland - “The World Will Decide” (The World Will Decide, Bandcamp, 2020) Over the Edge - “1991/06/06” (The Best of Over the Edge, Archive.org, 6 June 1991) E L U C I D  - “[excerpt]” [2020] (SEERSHIP!, PTP, 2022) Ween - “I Hate Morrissey (Home Demo)” (Boognish Rising 2013 Sampler, 2013) Negativland - “A Nice Place To Live” (Points, Seeland, 1981) Chopping Channel - “Safe Place Orientation” (Independent Therapy, Seeland, 2016) Don Joyce - “We'll Be Right Back [excerpt]” (Mort Aux Vaches, Mort Aux Vaches,  2020) —-Sound Propositions is written, recorded, mixed, and produced by Joseph Sannicandro. --- Support this podcast: https://podcasters.spotify.com/pod/show/soundpropositions/support

durée : 00:25:00 - Les Nuits de France Culture - par : Philippe Garbit - Dialogues et musiques - Edgar Varèse (1ère diffusion : 14/11/1954 Chaîne Nationale) - réalisation : Virginie Mourthé - invités : Edgard Varèse Compositeur français (Paris, 1883 – New York, 1965 )

'Poème Électronique' gaat over de ontstaansgeschiedenis van de elektronische muziek. Die geschiedenis gaat een stuk verder terug dan de meeste mensen weten. Ruim tien jaar voordat Otis Redding zong dat hij on the dock of the bay zat, werd er in het Eindhovense Natuurkundig Laboratorium al volledig elektronische muziek gecomponeerd en opgenomen. De luisteraar wordt in deze documentaire meegenomen naar de jaren '50 van de vorige eeuw, waarin componisten een nieuw hoofdstuk van de muziekgeschiedenis konden openen. De nieuwe machines, die in eerste instantie niet eens waren ontworpen om muziek mee te maken, stelden gerenommeerde componisten in staat om op een helemaal nieuwe manier met geluid en toonopbouw aan de slag te gaan. Het mondde uit in een multimediaspektakel in het Philipspaviljoen op de Wereldtentoonstelling in Brussel in 1958: Het Poème Électronique. Maker: Wisse Beets Eindredactie: Katinka Baehr Editing: Alfred Koster De muziek die in de documentaire te horen is: Edgard Varèse - Poème Électronique Henk Badings - Kaïn En Abel Kid Baltan - Song of the Second Moon Richard Wagner - Ride of the Valkyries Gottfried Michael Koenig - Klangfiguren II Tom Dissevelt - Vibration Pierre Schaeffer - Étude violette Pierre Schaeffer - Études de bruits Pierre Schaeffer - Étude aux objets Beethoven - Cello Sonata No. 3 in A major Karlheinz Stockhausen - Studie I Kid Baltan - Song of the Second Moon Tom Dissevelt - Syncopation Joop De Knegt - Ik sta op wacht Benjamin Britten - The Young Person's Guide to the Orchestra Edgard Varèse - Deserts Gottfried Michael Koenig - Klangfiguren II

Edward Colver is essentially a self taught photographer; Largely influenced by Dada and Surrealism. Three months after he began taking photographs, Edward had his first photo published: an image of performance artist Johanna Went, featured in Bam magazine. Since then he has shot photos for dozens of record labels including EMI, Capitol, and Geffen. His photographs have been featured on more than 500 album covers and include some of the most recognizable and iconic covers of the late 20th century. His work as a rock photographer is well documented in the film American Hardcore. He has photographed bands like Black Flag, T.S.O.L, Christian Death, Bad Religion, Dead Kennedys, Adolescents, Social Distortion, Vandals, X, Red Hot Chili Peppers, X, Tom Waits, Alice Cooper and so much more! https://www.instagram.com/edwardcolver/ BUY A TEESHIRT HERE From Ed: https://edwardcolver.com/t-shirts/ Check out his galleries: https://edwardcolver.com/ Kevin Vonesper has his own youtube channel - Check it out HERE: https://www.youtube.com/@VonesperStudios www.frumess.com⁠⁠⁠⁠ Join this channel to get access to videos not available on the public channel: ⁠⁠⁠https://www.youtube.com/channel/UC6pX3ePQjr8TKBQqKRiobNQ/join⁠⁠⁠ FRUMESS is POWERED by ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.riotstickers.com/frumess⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ GET 200 DIECUT STICKERS FOR $69  RIGHT HERE - NO PROMO CODE NEED JOIN THE PATREON FOR LESS THAN A $2 CUP OF COFFEE!! ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/Frumess ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

durée : 00:15:03 - avec Bruno Giner - par : Philippe Venturini - Alban Berg, Erik Satie, Arnold Schoenberg, Edgard Varèse, Anton Webern, Kurt Weill... Après cette foisonnante liste de biographies, Bruno Giner publie chez Bleu Nuit Editeur un nouvel ouvrage consacrée, cette fois-ci, aux compositrices. - réalisé par : Laurent Lefrançois

The heart of Brigid Cohen's Musical Migration and Imperial New York: Early Cold War Scenes (University of Chicago Press, 2022) are the connections forged and broken amid the dislocations caused by war and imperialist ambitions. Rather than telling a simple chronological narrative, Cohen circles loosely around a single year, 1960, and crosses time and place to examine how a group of artists mediated ideas of displacement, race, gender, imperialism, and Cold War Orientalism in their work. Cohen begins with an examination of the complex musical and personal interactions during the 1957 Greenwich House sessions organized by Edgard Varèse, and then turns to the Columbia-Princeton Electronic Music Center, the early work of Yoko Ono, and finally the early years of Fluxus. She considers a disparate collection of crossed paths in New York City, a place she calls a “capital of Empire.” While she focuses on figures, institutions, and groups that are well known among scholars who work on music and Cold War politics, she looks under and around these familiar topics to center people, art, and events that have been overlooked or even dismissed in other scholarship. Kristen M. Turner is a lecturer in the music and honors departments at North Carolina State University. Her research centers on race and class in American popular entertainment at the turn of the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The heart of Brigid Cohen's Musical Migration and Imperial New York: Early Cold War Scenes (University of Chicago Press, 2022) are the connections forged and broken amid the dislocations caused by war and imperialist ambitions. Rather than telling a simple chronological narrative, Cohen circles loosely around a single year, 1960, and crosses time and place to examine how a group of artists mediated ideas of displacement, race, gender, imperialism, and Cold War Orientalism in their work. Cohen begins with an examination of the complex musical and personal interactions during the 1957 Greenwich House sessions organized by Edgard Varèse, and then turns to the Columbia-Princeton Electronic Music Center, the early work of Yoko Ono, and finally the early years of Fluxus. She considers a disparate collection of crossed paths in New York City, a place she calls a “capital of Empire.” While she focuses on figures, institutions, and groups that are well known among scholars who work on music and Cold War politics, she looks under and around these familiar topics to center people, art, and events that have been overlooked or even dismissed in other scholarship. Kristen M. Turner is a lecturer in the music and honors departments at North Carolina State University. Her research centers on race and class in American popular entertainment at the turn of the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

The heart of Brigid Cohen's Musical Migration and Imperial New York: Early Cold War Scenes (University of Chicago Press, 2022) are the connections forged and broken amid the dislocations caused by war and imperialist ambitions. Rather than telling a simple chronological narrative, Cohen circles loosely around a single year, 1960, and crosses time and place to examine how a group of artists mediated ideas of displacement, race, gender, imperialism, and Cold War Orientalism in their work. Cohen begins with an examination of the complex musical and personal interactions during the 1957 Greenwich House sessions organized by Edgard Varèse, and then turns to the Columbia-Princeton Electronic Music Center, the early work of Yoko Ono, and finally the early years of Fluxus. She considers a disparate collection of crossed paths in New York City, a place she calls a “capital of Empire.” While she focuses on figures, institutions, and groups that are well known among scholars who work on music and Cold War politics, she looks under and around these familiar topics to center people, art, and events that have been overlooked or even dismissed in other scholarship. Kristen M. Turner is a lecturer in the music and honors departments at North Carolina State University. Her research centers on race and class in American popular entertainment at the turn of the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

The heart of Brigid Cohen's Musical Migration and Imperial New York: Early Cold War Scenes (University of Chicago Press, 2022) are the connections forged and broken amid the dislocations caused by war and imperialist ambitions. Rather than telling a simple chronological narrative, Cohen circles loosely around a single year, 1960, and crosses time and place to examine how a group of artists mediated ideas of displacement, race, gender, imperialism, and Cold War Orientalism in their work. Cohen begins with an examination of the complex musical and personal interactions during the 1957 Greenwich House sessions organized by Edgard Varèse, and then turns to the Columbia-Princeton Electronic Music Center, the early work of Yoko Ono, and finally the early years of Fluxus. She considers a disparate collection of crossed paths in New York City, a place she calls a “capital of Empire.” While she focuses on figures, institutions, and groups that are well known among scholars who work on music and Cold War politics, she looks under and around these familiar topics to center people, art, and events that have been overlooked or even dismissed in other scholarship. Kristen M. Turner is a lecturer in the music and honors departments at North Carolina State University. Her research centers on race and class in American popular entertainment at the turn of the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

The heart of Brigid Cohen's Musical Migration and Imperial New York: Early Cold War Scenes (University of Chicago Press, 2022) are the connections forged and broken amid the dislocations caused by war and imperialist ambitions. Rather than telling a simple chronological narrative, Cohen circles loosely around a single year, 1960, and crosses time and place to examine how a group of artists mediated ideas of displacement, race, gender, imperialism, and Cold War Orientalism in their work. Cohen begins with an examination of the complex musical and personal interactions during the 1957 Greenwich House sessions organized by Edgard Varèse, and then turns to the Columbia-Princeton Electronic Music Center, the early work of Yoko Ono, and finally the early years of Fluxus. She considers a disparate collection of crossed paths in New York City, a place she calls a “capital of Empire.” While she focuses on figures, institutions, and groups that are well known among scholars who work on music and Cold War politics, she looks under and around these familiar topics to center people, art, and events that have been overlooked or even dismissed in other scholarship. Kristen M. Turner is a lecturer in the music and honors departments at North Carolina State University. Her research centers on race and class in American popular entertainment at the turn of the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

The heart of Brigid Cohen's Musical Migration and Imperial New York: Early Cold War Scenes (University of Chicago Press, 2022) are the connections forged and broken amid the dislocations caused by war and imperialist ambitions. Rather than telling a simple chronological narrative, Cohen circles loosely around a single year, 1960, and crosses time and place to examine how a group of artists mediated ideas of displacement, race, gender, imperialism, and Cold War Orientalism in their work. Cohen begins with an examination of the complex musical and personal interactions during the 1957 Greenwich House sessions organized by Edgard Varèse, and then turns to the Columbia-Princeton Electronic Music Center, the early work of Yoko Ono, and finally the early years of Fluxus. She considers a disparate collection of crossed paths in New York City, a place she calls a “capital of Empire.” While she focuses on figures, institutions, and groups that are well known among scholars who work on music and Cold War politics, she looks under and around these familiar topics to center people, art, and events that have been overlooked or even dismissed in other scholarship. Kristen M. Turner is a lecturer in the music and honors departments at North Carolina State University. Her research centers on race and class in American popular entertainment at the turn of the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices

Collaborating with a 16-voice choir Von Oswald delves into the interplay between the human voice and electronic synthesis. https://www.theransomnote.com/music/premiere-moritz-von-oswald-luminoso-tresor/ In the realm of Moritz Van Oswald's delight, Luminoso at Tresor, a surreal flight, Twinkling stars in the techno night, Where beats and dreams take their curious height. Electronic wizard, with a hat so tall, His tunes enchant, and the walls do crawl, Through the dancefloor, we heed the call, Luminoso's magic, we surrender to all. In the land of nonsense, we find our way, Where melodies and rhythms start to sway, Moritz Van Oswald leads the play, In Luminoso's world, we'll forever stay. Moritz von Oswald's album “Silencio” due out on Tresor Records, November 10th, 2023, is an exploration of the differences and similarities between human and artificial sound. Collaborating with a 16-voice choir he delves into the space between these sounds, drawing inspiration from composers like Edgard Varèse, György Ligeti, and Iannis Xenakis. Combining elements of repetition and reduction, reminiscent of techno and minimalism it showcases the interplay between the human voice and electronic synthesis. The compositions for “Silencio” were created using classic synthesizers in von Oswald's Berlin studio and then transcribed for the choir by Finnish composer Jarkko Riihimäki. Out Nov 10. Listen below and pre-order here: @tresorberlin

In this episode, we are very pleased to be joined by composer and author Ron Geesin. Known to Pink Floyd fans for his collaboration on Atom Heart Mother and Music from the Body, Ron has an extensive discography, a massive collection of adjustable spanners, and nearly eight decades' worth of stories, aphorisms, insights, and witticisms. In a wide-ranging conversation with Phil Salathé and Nils Zehnpfennig, Ron discusses the past and future of Atom Heart Mother, his work for film and television, and the role of the subconscious and humor in art. Along the way Ron speaks of his love for Coleman Hawkins and Edgard Varèse, and recounts how "unintentional brinksmanship" had him facing the wrath of two thousand Scots.Please find the unedited video here: https://youtu.be/AqGtp7rcT_g

Edgard Varèse is one of the most influential musicians of the twentieth century and was called  "The stratospheric Colossus of Sound."  He lived life with intensity and composed the same way.  Varèse lived most of his composing life in New York City and  made music out of the  compelling cacophony of NYC street noises: sirens,  firetrucks, river sounds, foghorns, and even skyscraper construction.Density 21.5 was composed in 1936 (and revised in 194) at the request of Georges Barrère to inaugurate his new platinum flute.  (21.5 is the density of platinum.) Density 21.5 breaks the stereotype of typical French music. This 4 minute-long  ground-breaking piece offers free tonality, an immense dynamic range,  surgically precise rhythms, steely and wispy colors, and it showcases Varèse's love for percussion. Varèse was more interested in the nature of sound rather than the aspect of melody.  Listen with curiosity to the sounds and enjoy the emotional ride.Music:Georg Philip Telemann, Fantaisie No. 12 for solo flute by Karen KevraEdgard Varèse -Poème électronique Kees Tazelaar, Edgard Varèse & Institute for Computer MusicJacques Offenbach - Barcarolle from Tale of Hoffman, Sir Neville MarinerFrédéric Chopin - Ballade #4, Opus 52, Alfred CortotErik Satie - Gymnopédie No. 1,  Philippe EntremontEdgard Varèse - Amériques, The Philadelphia OrchestraEdgard Varèse, Ionisation, The New York Philharmonic Orchestra, Pierre BoulezEdgard Varèse - Déserts, Choeurs de Radio France, Ensemble Intercontemporain, Pierre BoulezClaude Debussy - Syrinx, Karen KevraCécile Chaminade - Concertino, Karen KevraEdgard Varèse - Density 21.5, Karen KevraSupport the show

Synopsis On this day in 1934, an excited crowd of locals and visitors had gathered in Hartford, Connecticut, for the premiere performance of a new opera entitled Four Saints in Three Acts. The fact that the opera featured 16 saints, not 4, and was divided into 4 acts, not 3, was taken by the audience in stride, as the libretto was by the expatriate American writer, Gertrude Stein, notorious for her surreal poetry and prose. The music, performed by players from the Philadelphia Orchestra and sung by an all-black cast, was by the 37-year old American composer, Virgil Thomson, who matched Stein's surreal sentences with witty musical allusions to hymn tunes and parodies of solemn, resolutely tonal music. Among the locals in attendance was the full-time insurance executive and part-time poet, Wallace Stevens, who called the new opera (quote): "An elaborate bit of perversity in every respect: text, settings, choreography, [but] Most agreeable musically… If one excludes aesthetic self-consciousness, the opera immediately becomes a delicate and joyous work all around." The opera was a smashing success, and soon opened on Broadway, where everyone from Toscanini and Gershwin to Dorothy Parker and the Rockefellers paid a whopping $3.30 for the best seats—a lot of money during one of the worst winters of the Great Depression. Music Played in Today's Program Virgil Thomson (1896-1989) Four Saints in Three Acts Orchestra of Our Time; Joel Thome, conductor. Nonesuch 79035 On This Day Births 1741 - Belgian-born French composer André Grétry, in Liège; 1932 - American composer and conductor John Williams, in New York City; Deaths 1709 - Italian composer Giuseppe Torelli, age 50, in Bologna; 1909 - Polish composer Mieczyslaw Karlowicz, age 32, near Zakopane, Tatra Mountains; Premieres 1874 - Mussorgsky: opera “Boris Godunov”, at the Mariinsky Theatre in St. Petersburg, with bass Ivan Melnikov in the title role, and Eduard Napravnik conducting; This was the composer's own revised, nine-scene version of the opera, which originally consisted of just seven scenes (Julian date: Jan.27); 1897 - Kalinnikov: Symphony No. 1 (Gregorian date: Feb. 20); 1904 - Sibelius: Violin Concerto (first version), in Helsinki, by the Helsingsfors Philharmonic conducted by the composer, with Victor Novácek as soloist; The revised and final version of this concerto premiered in Berlin on October 19, 1905, conducted by Richard Strauss and with Karl Halir the soloist; 1907 - Schoenberg: Chamber Symphony No. 1 in Vienna, with the Rosé Quartet and members of the Vienna Philharmonic; 1908 - Rachmaninoff: Symphony No. 2 in St. Petersburg, with the composer conducting (Julian date: Jan. 26); 1909 - Liadov: “Enchanted Lake” (Gregorian date: Feb. 21); 1910 - Webern: Five Movements, Op. 5, for string quartet, in Vienna; 1925 - Cowell: "Ensemble" (original version for strings and 3 "thunder-sticks"), at a concert sponsored by the International Composers' Guild at Aeolian Hall in New York, by an ensemble led by Vladimir Shavitch that featured the composer and two colleagues on "thunder-sticks" (an American Indian instrument also known as the "bull-roarer"); Also on program was the premiere of William Grant Still's "From the Land of Dreams" for three voices and chamber orchestra (his first concert work, now lost, dedicated to his teacher, Edgard Varèse); 1925 - Miaskovsky: Symphonies Nos. 4 and 7, in Moscow; 1934 - Virgil Thomson: opera "Four Saints in Three Acts" (libretto by Gertrude Stein), in Hartford, Conn.; 1942 - Stravinsky: "Danses concertantes," by the Werner Janssen Orchestra of Los Angeles, with the composer conducting; 1946 - Bartók: Piano Concerto No. 3 (completed by Tibor Serly after the composer's death), by the Philadelphia Orchestra, Eugene Ormandy conducting and György Sándor as the soloist; 1959 - Elie Siegmeister: Symphony No. 3, in Oklahoma City; 1963 - Benjamin Lees: Violin Concerto, by the Boston Symphony, with Erich Leinsdorf conducting and Henryk Szeryng the soloist; 1966 - Lou Harrison: "Symphony on G" (revised version), at the Cabrillo Music Festival by the Oakland Symphony, Gerhard Samuel condicting; 1973 - Crumb: "Makrokosmos I" for amplified piano, in New York; 1985 - Earle Brown: "Tracer," for six instruments and four-track tape, in Berlin; 1986 - Daniel Pinkham: Symphony No. 3, by the Plymouth (Mass.) Philharmonic, Rudolf Schlegel conducting; 2001 - Sierra: "Concerto for Orchestra," by the Philadelphia Orchestra, Wolfgang Sawallisch conducting; Others 1875 - American composer Edward MacDowell admitted to the Paris Conservatory; 1877 - German-born (and later American) composer Charles Martin Loeffler admitted to the Paris Conservatory; 1880 - German opera composer Richard Wagner writes a letter to his American dentist, Dr. Newell Still Jenkins, stating "I do no regard it as impossible that I decide to emigrate forever to America with my latest work ["Parsifal"] and my entire family" if the Americans would subsidize him to the tune of one million dollars. Links and Resources On Virgil Thomson More on Thomson

Frank Vincent Zappa (December 21, 1940 – December 4, 1993) was an American musician, singer, composer, songwriter and bandleader. His work is characterized by nonconformity, free-form improvisation, sound experiments, musical virtuosity and satire of American culture. In a career spanning more than 30 years, Zappa composed rock, pop, jazz, jazz fusion, orchestral and musique concrète works, and produced almost all of the 60-plus albums that he released with his band the Mothers of Invention and as a solo artist. Zappa also directed feature-length films and music videos, and designed album covers. He is considered one of the most innovative and stylistically diverse musicians of his generation. On a number of occasions Zappa appeared in radio show slots, airing and generally discussing his favored music, or occasionally guesting on a 'club turntable', describing himself as a 'Fraudulent DJ'. In this episode, part two of a series of two, all the tracks in chronological order as selected by Zappa (with exception of most of his own tracks) for all his DJ appearances that have been documented, and that took place between 1968 and 1984. Lineup: Frank Zappa, Jimi Hendrix, Alice Cooper, Led Zeppelin, The Clovers, The Lamplighters, The Mothers Of Invention, Captain Beefheart & His Magic Band, Igor Stravinsky, Columbia Symphony Orchestra, John Lee Hooker, The Rolling Stones, The Young Rascals, Howlin' Wolf, The Velours, The Channels, Earl Lewis, Joni Mitchell, Muddy Waters, Jimmy Reed, Blondie, The Specials, Gerry & The Holograms, Nina Hagen, The Jets, Konrad Koselleck Big Band, Ellen Ten Damme, U.K. Subs, Snuky Tate, Robert & Johnny, The Flying Lizards, Joe Jackson, Gary Numan, The Police, Destroy All Monsters, The Saints, L Shankar, The Tubes, Suburban Lawns, Captain Beefheart, John Cooper Clarke, Public Image Ltd., The Firemen, The Deadliners, Plastics, Jeff Simmons, New Musik, Edgard Varèse, Polish National Radio Symphony Orchestra, Christopher Lyndon-Gee, ZZ Top, The Velvet Underground, Nico, Black Sabbath, Lene Lovich, The GTOs, Queen, Lynyrd Skynyrd, The Top Charts D.J., The Beatles, SpizzEnergi, Traffic, Wild Man Fischer, Lew Lewis, Tomorrow, Frankie Valli, Blue Öyster Cult, Foreigner, ACDC, Sue Saad & the Next, Van Halen, Buzzcocks, The Jam, Pink Floyd, Journey

Frank Vincent Zappa (December 21, 1940 – December 4, 1993) was an American musician, singer, composer, songwriter and bandleader. His work is characterized by nonconformity, free-form improvisation, sound experiments, musical virtuosity and satire of American culture. In a career spanning more than 30 years, Zappa composed rock, pop, jazz, jazz fusion, orchestral and musique concrète works, and produced almost all of the 60-plus albums that he released with his band the Mothers of Invention and as a solo artist. Zappa also directed feature-length films and music videos, and designed album covers. He is considered one of the most innovative and stylistically diverse musicians of his generation. On a number of occasions Zappa appeared in radio show slots, airing and generally discussing his favored music, or occasionally guesting on a 'club turntable', describing himself as a 'Fraudulent DJ'. In this episode, part one of a series of two, all the tracks in chronological order as selected by Zappa (with exception of most of his own tracks) for all his DJ appearances that have been documented, and that took place between 1968 and 1984. Lineup: Frank Zappa, The Mothers Of Invention, Ewan MacColl, The Hollywood Persuaders, Pierre Boulez, Hilary Summers, Ensemble Intercontemporain, The Dreamlovers, The Penguins, Charles Mingus, Frankie Lee Sims, Vernon Green & The Medallions, Richard Berry & The Dreamers, The Paragons, Big Moose, The Turbans, Johnny Guitar Watson, The Spaniels, J.B. Lenoir, Vernon Green, The Medallions, Bill Haley & His Comets, The Chips, The Velvets, Richard Berry & The Pharaohs, Johnny 'Guitar' Watson, The Feathers, Don & Dewey, The Jewels, The Cufflinks, Johnny Ace, Wilbur Whitfield & The Pleasers, Hank Ballard & The Midnighters, Jackie & The Starlites, The Cellos, The Rolling Crew, Screamin' Jay Hawkins, Paul Robeson, Huey 'Piano' Smith, Clarence 'Gatemouth' Brown, The Six Teens, The Laurie Sisters, Lloyd Terrell, Ruben And The Jets, The Hawks, The Olympics, Andre Williams, The Gaylarks, Little Sunny Day and the Clouds, The Clovers, The Harptones, Baby Ray And The Ferns, Muddy Waters, The Shaggs, Richard Berry, The Robins, Bob Landers, Willie Joe, Tony Allen, Peppermint Harris, The El Dorados, The 5 Campbells, Elmore James, The Moonlighters, Don Julian, The Larks, Lloyd Price, The Solitaires, Black Oak Arkansas, Edgard Varèse, Frederic Waldman, NY Wind Ensemble, Olivier Messiaen, BBC Symphony OrchestraAntal Dorati, Antal Doráti, BBC Symphony Orchestra, Anton Webern, Nürnberg Symphony Orchestra, Othmar Maga

The Blue Cats - Nowhere Man (196?) I'm gonna guess 1966 since this band released three albums of covers of their time plus some instrumental originals. Probably German studio guys bringing the Western hits of the day to their homeland.  Diane and Annita - Groovey Kind of Love (1965) Fans (?) of this release propose that this might not even be the titular singers (who sound nothing like the voices on this recording) but actually the writers, Carol Bayer-Sager and Toni Wine. Annita Ray also recorded a one-off novelty single with Eden Ahbez, the writer of "Nature Boy," in 1956. It was titled "Frankie's Song" b/w "Elvis Presley Blues."  Wikipedia: The melody is from the Rondo from Muzio Clementi's Sonatina, Opus 36, No. 5. Even though Wine and Sager claim full songwriting credits, they mainly wrote the lyrics and just slightly modified Clementi's music. Bayer Sager originally pitched the song to pop star Lesley Gore in early 1965, but Gore's producer at the time, Shelby Singleton, rejected it, as he found the word "groovy" too slangy.  Gene Cotton - Let Your Love Flow (1975)  The Undisputed Truth - Papa Was A Rollin' Stone (1972) This version actually preceded the Grammy-winning version by The Temptations, and the two are pretty similar. The Undisputed Truth had their biggest hit with a song written by Norman Whitfield and Barrett Strong as well, "Smiling Faces Sometimes", which was originally recorded by The Temptations! This is another trivia question you can ask your friend.  Beau Williams - C'est La Vie (1984) Black Magic! - Miss Jessie (1970) Brian Wilson - Just Say No (1986) C.W. McCall - Kidnap America (1980)  The Soul Searchers - We The People (1972) Roogalator - Cincinnatti Fatback (1976) Note the Stiff Records logo on the upper left corner. This was one of the first Stiff releases. Danny Adler was an American ex-pat living in England. This was the second version of Roogalator (formed in 1972), and as much as this track smokes, the band got virtually no support from the label, and constant personnel changes killed the group. Could you have hung on that long with an entire movement (that you helped start) bubbling under your feet, only to be ignored and ultimately ripped off?  Cliff Bennett and his Band - Back In The U.S.S.R. (1968) Con-Funk-Shun - Clique (1974) Sesame Street - Cracks (1976) "Cracks" is an animated musical insert produced for Sesame Street in the 1970s. A young girl is unable to go outside to play because of the rain, and so she imagines the cracks in her wall form a camel. The camel takes her on an adventure through the wall where she meets a hen and a monkey, also made out of cracks. The voice is the one and only Dorothy Moskowitz, who I featured on a recent show. She is mostly known as the female voice of The United States of America.  Debby Dobbins - How You Gonna Feel (1979)  A selection from the one and only album by Don Thompson - Fanny Brown/Just Plain Funk/Night Ladies/Hang Loose (1977) God, I love this funk. From Dusty Groove: The one and only album from drummer Don Thompson – a funky Brunswick classic from the 70s, and one of the most unique records we've ever heard from the label at the time! Don's got this style of singing that has a bit of a southern twang at times, but he works with grooves that are definitely northern in their orientation – served up in a range of styles that includes the funky drum break of the title cut, some mellow-stepping moments on a few other tunes, and the bouncing boogie that's really become the album's calling card over the years! There's loads of great bass work on most cuts, which really grounds that album alongside Don's drums – and titles include "Just Plain Funk", "Fanny Brown", "Lovin To The Bone", "Night Ladies (part 1 & 2)", and "Hang Loose". Donny Hathaway - The Ghetto (1970) His early records were expansive and unique, and his voice was second to none. He was every bit the equal of Stevie and Marvin, but you know him from his duets with Roberta Flack.  Wikipedia: During the peak of his career, Hathaway began suffering from severe bouts of depression and exhibiting unusual behavior. In 1971, he was diagnosed with paranoid schizophrenia for which he was prescribed various medications. At one point, Hathaway was prescribed fourteen different medications that he was to take twice a day. After Hathaway was diagnosed and began taking medication, his mental state improved. However, Eulaulah Hathaway has said that her husband became less than diligent about following his prescription regimen when he began feeling better and often stopped taking his medications altogether. From 1973 to 1977, Hathaway's mental instability wreaked havoc on his life and career and required several hospitalizations. The effects of his depression and severe mood swings also drove a wedge in his and Flack's friendship; they did not reconcile for several years, and did not release additional music until the successful release of "The Closer I Get To You" in 1978. Flack and Hathaway then resumed studio recording to compose a second album of duets. You should investigate his discography, especially this stunning debut album, Everything Is Everything. He was brilliant.  Donny Hathaway - To Be Young, Gifted, and Black (1970)  Donnie Most - Rock Is Dead (1976)  Enoch Light and the Light Brigade - Pick Up The Pieces (1975) John Miller on bass.  Enoch Light and the Light Brigade - Puppet Man (1970)  Fleetwood Mac - Sentimental Lady (1972) POACA will remember that Bob Welch rerecorded this with a more prominent Christine McVie backing vocal part. The singing members of Fleetwood Mac circa 1977-1980 could have crapped on a cracker and it would have gone gold.  The Mothers of Invention - Help, I'm a Rock (Suite In Three Movements) I. Okay To Tap Dance II. In Memoriam, Edgard Varèse lll. It Can't Happen Here (1966)  Ian Dury and the Blockheads - Reasons To Be Cheerful (Pt. 3) (1980)  Kelly Gordon - He Ain't Heavy, He's My Brother (1969) First version. Beautiful.  Kid Creole and the Coconuts - Indiscreet (1983) Live. Goddammit, Carol Colman on bass.  The Residents - Die In Terror (1980)  Hoover Commercial with Brian Johnson of AC/DC on vocals. (1979)  Carpenters - Suntory Pop Jingle (1977)    

Born in Donetsk (Ukraine), Dina Pysarenko is a pianist, accompanist at the National Tchaikovsky Music Academy of Ukraine, soloist of the Ukho Ensemble Kyiv and a laureate of the Levko Revutsky Award (2014) as well as the 6th International S. Prokofiev Competition (Saint-Petersburg, 2013). While still studying at the Donetsk Specialized Music School for gifted children, Dina was twice a laureate of the International Competition in Memory of Vladimir Horowitz in Kyiv. She graduated with Honours from Sergey Prokofiev Donetsk State Music Academy in 2009, where she studied with Prof. Lidiya Adamenko. Eager to embrace various styles in her repertoire, Dina devotes particular attention to contemporary music: since 2006 she has premiered a number of pieces by living composers, such as Yevhen Petrychenko, Serhiy Piliutykov, Alexandra Karastoyanova-Hermentin and Oleksiy Voytenko, performing at important Ukrainian festivals such as KyivMusicFest, GogolFEST, Donbas Modern Music Academy, etc.Together with Ukho Ensemble Kyiv under the baton of Luigi Gaggero, she has given the Ukrainian premieres of several important pieces of the 20th and 21st centuries, including À propos du concert de la semaine dernière by Samuel Andreyev, ...quasi una fantasia... by György Kurtág, Kammerkonzert by Klaus-Steffen Mahnkopf, and the Piano concerto of György Ligeti. Dina participated in a conducting masterclass held by maestro Luigi Gaggero with the Ukho Ensemble Kyiv, making her debut as a conduc- tor with Intégrales by Edgard Varèse (2016) and Epicycle by Iannis Xenakis (2018).Since 2009, Dina Pysarenko has accompanied the class of Prof. Valeriy Ivko, one of the founders the of Ukrainian domra school. In the 2013/14 season she was accompanist at the Anatolii Solovyanenko Donetsk Opera and Ballet Theatre. She has also participated in three opera productions staged in the National Opera of Ukraine by Ukho agency and directed by Luigi Gaggero: Limbus-Limbo by Stefano Gervasoni (2016), Pane, sale, sabbia by Carmine Emmanuele Cella (2017), and Luci mie traditrici by Salvatore Sciarrino (2018). This interview was recorded on March 9th, 2022. SUPPORT THIS PODCASTPatreonDonorboxORDER SAMUEL ANDREYEV'S NEWEST RELEASEIridescent NotationLINKSYouTube channelOfficial WebsiteTwitterInstagramEdition Impronta, publisher of Samuel Andreyev's scoresEPISODE CREDITSPost production: Marek IwaszkiewiczPodcast artwork photograph © 2019 Philippe StirnweissSupport the show (http://www.patreon.com/samuelandreyev)

Bret Battey is a composer and visual musician, who creates both electro-acoustic music together with digital moving image art. The films are as complex visually as the music is to listen to, but together they create an altogether gripping and captivating experience. Musically, Bret is influenced as much by the sweep of late romantic composers such as Gustav Mahler as he is by the granularity of Iannis Xenakis, or the 'organised noise' of Edgard Varése and a host of other more recent electro-acoustic composers. Visually, he works often by digitally manipulating photographs (which he has often taken himself) to create colourful abstract visualisations to compliment the music, working often from programming individual pixels into alluringly complex larger pictures. Here, he discusses the processes involved in creating both music and image for his artworks, as well as the lineage of visual music into which he fits. Filmmakers discussed in this episode include: Oskar Fischinger Jordan Belson Norman McLaren

https://www.bertligonmusic.comhttps://www.bertligonmusic.com/jazz-books-by-bert-ligonNote: Zappa studied "The Complete Works of Edgard Varése" as a teen.Contact us: teachmusictokids@gmail.comHosts:Eric Rasmussen, PhD in Music Education, Temple University. Three-year student of Dr. Edwin Gordon.Chair, Early Childhood Music, Peabody Preparatory, Johns Hopkins UniversityAuthor of Dr. Eric's Book of Songs and Chants including Harmonic Learning Sequence. - https://teachmusictokids.comBeau Taillefer -  Guitarist (jazz and classical), music educator, intellectual - https://www.beautaillefer.ca

Alec and Nick meditate on the Valentine's holiday with a consideration of musical romance and romanticism. Charting a history of musical thought regarding topics of love, collectivity and intimacy, the episode investigates deeper foundations of romance as well as its contemporary commercial and social constructions in sound. Topics include Edgard Varèse, Johannes Brahms, João Gilberto, Éliane Radigue, Roland Barthes, Michael Franks and more.

Episode one hundred and forty of A History of Rock Music in Five Hundred Songs looks at “Trouble Every Day" by the Mothers of Invention, and the early career of Frank Zappa. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Christmas Time is Here Again" by the Beatles. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources I'm away from home as I upload this and haven't been able to do a Mixcloud, but will hopefully edit a link in in a week or so if I remember. The main biography I consulted for this was Electric Don Quixote by Neil Slaven. Zappa's autobiography, The Real Frank Zappa Book, is essential reading if you're a fan of his work. Information about Jimmy Carl Black's early life came from Black's autobiography, For Mother's Sake. Zappa's letter to Varese is from this blog, which also contains a lot of other useful information on Zappa. For information on the Watts uprising, I recommend Johnny Otis' Listen to the Lambs. And the original mix of Freak Out is currently available not on the CD issue of Freak Out itself, which is an eighties remix, but on this "documentary" set. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Just a quick note before I begin -- there are a couple of passing references in this episode to rape and child abuse. I don't believe there's anything that should upset anyone, but if you're worried, you might want to read the transcript on the podcast website before or instead of listening. But also, this episode contains explicit, detailed, descriptions of racial violence carried out by the police against Black people, including against children. Some of it is so distressing that even reading the transcript might be a bit much for some people. Sometimes, in this podcast, we have to go back to another story we've already told. In most cases, that story is recent enough that I can just say, "remember last episode, when I said...", but to tell the story of the Mothers of Invention, I have to start with a story that I told sixty-nine episodes ago, in episode seventy-one, which came out nearly two years ago. In that episode, on "Willie and the Hand Jive", I briefly told the story of Little Julian Herrera at the start. I'm going to tell a slightly longer version of the story now. Some of the information at the start of this episode will be familiar from that and other episodes, but I'm not going to expect people to remember something from that long ago, given all that's happened since. The DJ Art Laboe is one of the few figures from the dawn of rock and roll who is still working. At ninety-six years old, he still promotes concerts, and hosts a syndicated radio show on which he plays "Oldies but Goodies", a phrase which could describe him as well as the music. It's a phrase he coined -- and trademarked -- back in the 1950s, when people in his audience would ask him to play records made a whole three or four years earlier, records they had listened to in their youth. Laboe pretty much single-handedly invented the rock and roll nostalgia market -- as well as being a DJ, he owned a record label, Original Sound, which put out a series of compilation albums, Oldies But Goodies, starting in 1959, which started to cement the first draft of the doo-wop canon. These were the first albums to compile together a set of older rock and roll hits and market them for nostalgia, and they were very much based on the tastes of his West Coast teenage listenership, featuring songs like "Earth Angel" by the Penguins: [Excerpt: The Penguins, "Earth Angel"] But also records that had a more limited geographic appeal, like "Heaven and Paradise" by Don Julian and the Meadowlarks: [Excerpt: Don Julian and the Meadowlarks, "Heaven and Paradise"] As well as being a DJ and record company owner, Laboe was the promoter and MC for regular teenage dances at El Monte Legion Stadium, at which Kip and the Flips, the band that featured Sandy Nelson and Bruce Johnston, would back local performers like the Penguins, Don and Dewey, or Ritchie Valens, as well as visiting headliners like Jerry Lee Lewis. El Monte stadium was originally chosen because it was outside the LA city limits -- at the time there were anti-rock-and-roll ordinances that meant that any teenage dance had to be approved by the LA Board of Education, but those didn't apply to that stadium -- but it also led to Laboe's audience becoming more racially diverse. The stadium was in East LA, which had a large Mexican-American population, and while Laboe's listenership had initially been very white, soon there were substantial numbers of Mexican-American and Black audience members. And it was at one of the El Monte shows that Johnny Otis discovered the person who everyone thought was going to become the first Chicano rock star, before even Ritchie Valens, in 1957, performing as one of the filler acts on Laboe's bill. He signed Little Julian Herrera, a performer who was considered a sensation in East LA at the time, though nobody really knew where he lived, or knew much about him other than that he was handsome, Chicano, and would often have a pint of whisky in his back pocket, even though he was under the legal drinking age. Otis signed Herrera to his label, Dig Records, and produced several records for him, including the record by which he's now best remembered, "Those Lonely Lonely Nights": [Excerpt: Little Julian Herrera, "Those Lonely, Lonely, Nights"] After those didn't take off the way they were expected to, Herrera and his vocal group the Tigers moved to another label, one owned by Laboe, where they recorded "I Remember Linda": [Excerpt: Little Julian Herrera and the Tigers, "I Remember Linda"]  And then one day Johnny Otis got a knock on his door from the police. They were looking for Ron Gregory. Otis had never heard of Ron Gregory, and told them so. The police then showed him a picture. It turned out that Julian Herrera wasn't Mexican-American, and wasn't from East LA, but was from Massachusetts. He had run away from home a few years back, hitch-hiked across the country, and been taken in by a Mexican-American family, whose name he had adopted. And now he was wanted for rape. Herrera went to prison, and when he got out, he tried to make a comeback, but ended up sleeping rough in the basement of the stadium where he had once been discovered. He had to skip town because of some other legal problems, and headed to Tijuana, where he was last seen playing R&B gigs in 1963. Nobody knows what happened to him after that -- some say he was murdered, others that he's still alive, working in a petrol station under yet another name, but nobody has had a confirmed sighting of him since then. When he went to prison, the Tigers tried to continue for a while, but without their lead singer, they soon broke up. Ray Collins, who we heard singing the falsetto part in "I Remember Linda", went on to join many other doo-wop and R&B groups over the next few years, with little success. Then in summer 1963, he walked into a bar in Ponoma, and saw a bar band who were playing the old Hank Ballard and the Midnighters song "Work With Me Annie". As Collins later put it, “I figured that any band that played ‘Work With Me Annie' was all right,” and he asked if he could join them for a few songs. They agreed, and afterwards, Collins struck up a conversation with the guitarist, and told him about an idea he'd had for a song based on one of Steve Allen's catchphrases. The guitarist happened to be spending a lot of his time recording at an independent recording studio, and suggested that the two of them record the song together: [Excerpt: Baby Ray and the Ferns, "How's Your Bird?"] The guitarist in question was named Frank Zappa. Zappa was originally from Maryland, but had moved to California as a child with his conservative Italian-American family when his father, a defence contractor, had got a job in Monterey. The family had moved around California with his father's work, mostly living in various small towns in the Mojave desert seventy miles or so north of Los Angeles. Young Frank had an interest in science, especially chemistry, and especially things that exploded, but while he managed to figure out the ingredients for gunpowder, his family couldn't afford to buy him a chemistry set in his formative years -- they were so poor that his father regularly took part in medical experiments to get a bit of extra money to feed his kids -- and so the young man's interest was diverted away from science towards music. His first musical interest, and one that would show up in his music throughout his life, was the comedy music of Spike Jones, whose band combined virtuosic instrumental performances with sound effects: [Excerpt: Spike Jones and his City Slickers, "Cocktails for Two"] and parodies of popular classical music [Excerpt: Spike Jones and his City Slickers, "William Tell Overture"] Jones was a huge inspiration for almost every eccentric or bohemian of the 1940s and 50s -- Spike Milligan, for example, took the name Spike in tribute to him. And young Zappa wrote his first ever fan letter to Jones when he was five or six. As a child Zappa was also fascinated by the visual aesthetics of music -- he liked to draw musical notes on staves and see what they looked like. But his musical interests developed in two other ways once he entered his teens. The first was fairly typical for the musicians of his generation from LA we've looked at and will continue to look at, which is that he heard "Gee" by the Crows on the radio: [Excerpt: The Crows, "Gee"] He became an R&B obsessive at that moment, and would spend every moment he could listening to the Black radio stations, despite his parents' disapproval. He particularly enjoyed Huggy Boy's radio show broadcast from Dolphins of Hollywood, and also would religiously listen to Johnny Otis, and soon became a connoisseur of the kind of R&B and blues that Otis championed as a musician and DJ: [Excerpt: Zappa on the Late Show, “I hadn't been raised in an environment where there was a lot of music in the house. This couple that owned the chilli place, Opal and Chester, agreed to ask the man who serviced the jukebox to put in some of the song titles that I liked, because I promised that I would dutifully keep pumping quarters into this thing so that I could listen to them, and so I had the ability to eat good chilli and listen to 'Three Hours Past Midnight' by Johnny 'Guitar' Watson for most of my junior and senior year"] Johnny “Guitar” Watson, along with Guitar Slim, would become a formative influence on Zappa's guitar playing, and his playing on "Three Hours Past Midnight" is so similar to Zappa's later style that you could easily believe it *was* him: [Excerpt: Johnny "Guitar" Watson, "Three Hours Past Midnight"] But Zappa wasn't only listening to R&B. The way Zappa would always tell the story, he discovered the music that would set him apart from his contemporaries originally by reading an article in Look magazine. Now, because Zappa has obsessive fans who check every detail, people have done the research and found that there was no such article in that magazine, but he was telling the story close enough to the time period in which it happened that its broad strokes, at least, must be correct even if the details are wrong. What Zappa said was that the article was on Sam Goody, the record salesman, and talked about how Goody was so good at his job that he had even been able to sell a record of Ionisation by Edgard Varese, which just consisted of the worst and most horrible noises anyone had ever heard, just loud drumming noises and screeching sounds. He determined then that he needed to hear that album, but he had no idea how he would get hold of a copy. I'll now read an excerpt from Zappa's autobiography, because Zappa's phrasing makes the story much better: "Some time later, I was staying overnight with Dave Franken, a friend who lived in La Mesa, and we wound up going to the hi-fi place -- they were having a sale on R&B singles. After shuffling through the rack and finding a couple of Joe Huston records, I made my way toward the cash register and happened to glance at the LP bin. I noticed a strange-looking black-and-white album cover with a guy on it who had frizzy gray hair and looked like a mad scientist. I thought it was great that a mad scientist had finally made a record, so I picked it up -- and there it was, the record with "Ionisation" on it. The author of the Look article had gotten it slightly wrong -- the correct title was The Complete Works of Edgard Varèse, Volume I, including "Ionisation," among other pieces, on an obscure label called EMS (Elaine Music Store). The record number was 401.I returned the Joe Huston records and checked my pockets to see how much money I had -- I think it came to about $3.75. I'd never bought an album before, but I knew they must be expensive because mostly old people bought them. I asked the man at the cash register how much EMS 401 cost. "That gray one in the box?" he said. "$5.95." I'd been searching for that record for over a year and I wasn't about to give up. I told him I had $3.75. He thought about it for a minute, and said, "We've been using that record to demonstrate hi-fi's with -- but nobody ever buys one when we use it. I guess if you want it that bad you can have it for $3.75."" Zappa took the record home, and put it on on his mother's record player in the living room, the only one that could play LPs: [Excerpt: Edgard Varese, "Ionisation"] His mother told him he could never play that record in the living room again, so he took the record player into his bedroom, and it became his record player from that point on. Varese was a French composer who had, in his early career, been very influenced by Debussy. Debussy is now, of course, part of the classical canon, but in the early twentieth century he was regarded as radical, almost revolutionary, for his complete rewriting of the rules of conventional classical music tonality into a new conception based on chordal melodies, pedal points, and use of non-diatonic scales. Almost all of Varese's early work was destroyed in a fire, so we don't have evidence of the transition from Debussy's romantic-influenced impressionism to Varese's later style, but after he had moved to the US in 1915 he had become wildly more experimental. "Ionisation" is often claimed to be the first piece of Western classical music written only for percussion instruments. Varese was part of a wider movement of modernist composers -- for example he was the best man at Nicolas Slonimsky's wedding -- and had also set up the International Composers' Guild, whose manifesto influenced Zappa, though his libertarian politics led him to adapt it to a more individualistic rather than collective framing. The original manifesto read in part "Dying is the privilege of the weary. The present day composers refuse to die. They have realized the necessity of banding together and fighting for the right of each individual to secure a fair and free presentation of his work" In the twenties and thirties, Varese had written a large number of highly experimental pieces, including Ecuatorial, which was written for bass vocal, percussion, woodwind, and two Theremin cellos. These are not the same as the more familiar Theremin, created by the same inventor, and were, as their name suggests, Theremins that were played like a cello, with a fingerboard and bow. Only ten of these were ever made, specifically for performances of Varese's work, and he later rewrote the work to use ondes martenot instead of Theremin cellos, which is how the work is normally heard now: [Excerpt: Edgard Varese, "Ecuatorial"] But Varese had spent much of the thirties, forties, and early fifties working on two pieces that were never finished, based on science fiction ideas -- L'Astronome, which was meant to be about communication with people from the star Sirius, and Espace, which was originally intended to be performed simultaneously by choirs in Beijing, Moscow, Paris, and New York. Neither of these ideas came to fruition, and so Varese had not released any new work, other than one small piece, Étude pour espace, an excerpt from the  larger work, in Zappa's lifetime. Zappa followed up his interest in Varese's music with his music teacher, one of the few people in the young man's life who encouraged him in his unusual interests. That teacher, Mr Kavelman, introduced Zappa to the work of other composers, like Webern, but would also let him know why he liked particular R&B records. For example, Zappa played Mr. Kavelman "Angel in My Life" by the Jewels, and asked what it was that made him particularly like it: [Excerpt: The Jewels, "Angel in My Life"] The teacher's answer was that it was the parallel fourths that made the record particularly appealing. Young Frank was such a big fan of Varese that for his fifteenth birthday, he actually asked if he could make a long-distance phone call to speak to Varese. He didn't know where Varese lived, but figured that it must be in Greenwich Village because that was where composers lived, and he turned out to be right. He didn't get through on his birthday -- he got Varese's wife, who told him the composer was in Europe -- but he did eventually get to speak to him, and was incredibly excited when Varese told him that not only had he just written a new piece for the first time in years, but that it was called Deserts, and was about deserts -- just like the Mojave Desert where Zappa lived: [Excerpt: Edgard Varese, "Deserts"] As he later wrote, “When you're 15 and living in the Mojave Desert, and you find out that the World's Greatest Composer (who also looks like a mad scientist) is working in a secret Greenwich Village laboratory on a song about your hometown (so to speak), you can get pretty excited.” A year later, Zappa actually wrote to Varese, a long letter which included him telling the story about how he'd found his work in the first place, hoping to meet up with him when Zappa travelled to the East Coast to see family. I'll read out a few extracts, but the whole thing is fascinating for what it says about Zappa the precocious adolescent, and I'll link to a blog post with it in the show notes. "Dear Sir: Perhaps you might remember me from my stupid phone call last January, if not, my name again is Frank Zappa Jr. I am 16 years old… that might explain partly my disturbing you last winter. After I had struggled through Mr. Finklestein's notes on the back cover (I really did struggle too, for at the time I had had no training in music other than practice at drum rudiments) I became more and more interested in you and your music. I began to go to the library and take out books on modern composers and modern music, to learn all I could about Edgard Varese. It got to be my best subject (your life) and I began writing my reports and term papers on you at school. At one time when my history teacher asked us to write on an American that has really done something for the U.S.A. I wrote on you and the Pan American Composers League and the New Symphony. I failed. The teacher had never heard of you and said I made the whole thing up. Silly but true. That was my Sophomore year in high school. Throughout my life all the talents and abilities that God has left me with have been self developed, and when the time came for Frank to learn how to read and write music, Frank taught himself that too. I picked it all up from the library. I have been composing for two years now, utilizing a strict twelve-tone technique, producing effects that are reminiscent of Anton Webern. During those two years I have written two short woodwind quartets and a short symphony for winds, brass and percussion. I plan to go on and be a composer after college and I could really use the counsel of a veteran such as you. If you would allow me to visit with you for even a few hours it would be greatly appreciated. It may sound strange but I think I have something to offer you in the way of new ideas. One is an elaboration on the principle of Ruth Seeger's contrapuntal dynamics and the other is an extension of the twelve-tone technique which I call the inversion square. It enables one to compose harmonically constructed pantonal music in logical patterns and progressions while still abandoning tonality. Varese sent a brief reply, saying that he was going to be away for a few months, but would like to meet Zappa on his return. The two never met, but Zappa kept the letter from Varese framed on his wall for the rest of his life. Zappa soon bought a couple more albums, a version of "The Rite of Spring" by Stravinsky: [Excerpt: Igor Stravinsky, "The Rite of Spring"] And a record of pieces by Webern, including his Symphony opus 21: [Excerpt: Anton Webern, "Symphony op. 21"] (Incidentally, with the classical music here, I'm not seeking out the precise performances Zappa was listening to, just using whichever recordings I happen to have copies of). Zappa was also reading Slonimsky's works of musicology, like the Thesaurus of Scales and Melodic Patterns. As well as this "serious music" though, Zappa was also developing as an R&B musician.  He later said of the Webern album, "I loved that record, but it was about as different from Stravinsky and Varèse as you could get. I didn't know anything about twelve-tone music then, but I liked the way it sounded. Since I didn't have any kind of formal training, it didn't make any difference to me if I was listening to Lightnin' Slim, or a vocal group called the Jewels (who had a song out then called "Angel in My Life"), or Webern, or Varèse, or Stravinsky. To me it was all good music." He had started as a drummer with a group called the Blackouts, an integrated group with white, Latino, and Black members, who played R&B tracks like "Directly From My Heart to You", the song Johnny Otis had produced for Little Richard: [Excerpt: Little Richard, "Directly From My Heart to You"] But after eighteen months or so, he quit the group and stopped playing drums. Instead, he switched to guitar, with a style influenced by Johnny "Guitar" Watson and Guitar Slim. His first guitar had action so bad that he didn't learn to play chords, and moved straight on to playing lead lines with his younger brother Bobby playing rhythm. He also started hanging around with two other teenage bohemians -- Euclid Sherwood, who was nicknamed Motorhead, and Don Vliet, who called himself Don Van Vliet. Vliet was a truly strange character, even more so than Zappa, but they shared a love for the blues, and Vliet was becoming a fairly good blues singer, though he hadn't yet perfected the Howlin' Wolf imitation that would become his stock-in-trade in later years. But the surviving recording of Vliet singing with the Zappa brothers on guitar, singing a silly parody blues about being flushed down the toilet of the kind that many teenage boys would write, shows the promise that the two men had: [Excerpt: Frank Zappa and Captain Beefheart, "Lost in a Whirlpool"] Zappa was also getting the chance to hear his more serious music performed. He'd had the high school band play a couple of his pieces, but he also got the chance to write film music -- his English teacher, Don Cerveris, had decided to go off and seek his fortune as a film scriptwriter, and got Zappa hired to write the music for a cheap Western he'd written, Run Home Slow. The film was beset with problems -- it started filming in 1959 but didn't get finished and released until 1965 -- but the music Zappa wrote for it did eventually get recorded and used on the soundtrack: [Excerpt: Frank Zappa, "Run Home Slow Theme"] In 1962, he got to write the music for another film, The World's Greatest Sinner, and he also wrote a theme song for that, which got released as the B-side of "How's Your Bird?", the record he made with Ray Collins: [Excerpt: Baby Ray and the Ferns, "The World's Greatest Sinner"] Zappa was able to make these records because by the early sixties, as well as playing guitar in bar bands, he was working as an assistant for a man named Paul Buff. Paul Buff had worked as an engineer for a guided missile manufacturer, but had decided that he didn't want to do that any more, and instead had opened up the first independent multi-track recording studio on the West Coast, PAL Studios, using equipment he'd designed and built himself, including a five-track tape recorder. Buff engineered a huge number of surf instrumentals there, including "Wipe Out" by the Surfaris: [Excerpt: The Surfaris, "Wipe Out"] Zappa had first got to know Buff when he had come to Buff's studio with some session musicians in 1961, to record some jazz pieces he'd written, including this piece which at the time was in the style of Dave Brubeck but would later become a staple of Zappa's repertoire reorchestrated in a  rock style. [Excerpt: The PAL Studio Band, "Never on Sunday"] Buff really just wanted to make records entirely by himself, so he'd taught himself to play the rudiments of guitar, bass, drums, piano, and alto saxophone, so he could create records alone. He would listen to every big hit record, figure out what the hooks were on the record, and write his own knock-off of those. An example is "Tijuana Surf" by the Hollywood Persuaders, which is actually Buff on all instruments, and which according to Zappa went to number one in Mexico (though I've not found an independent source to confirm that chart placing, so perhaps take it with a pinch of salt): [Excerpt: The Hollywood Persuaders, "Tijuana Surf"] The B-side to that, "Grunion Run", was written by Zappa, who also plays guitar on that side: [Excerpt: The Hollywood Persuaders, "Grunion Run"] Zappa, Buff, Ray Collins, and a couple of associates would record all sorts of material at PAL -- comedy material like "Hey Nelda", under the name "Ned and Nelda" -- a parody of "Hey Paula" by Paul and Paula: [Excerpt: Ned and Nelda, "Hey Nelda"] Doo-wop parodies like "Masked Grandma": [Excerpt: The PAL Studio Band, "Masked Grandma"] R&B: [Excerpt: The PAL Studio Band, "Why Don't You Do Me Right?"] and more. Then Buff or Zappa would visit one of the local independent label owners and try to sell them the master -- Art Laboe at Original Sound released several of the singles, as did Bob Keane at Donna Records and Del-Fi. The "How's Your Bird" single also got Zappa his first national media exposure, as he went on the Steve Allen show, where he demonstrated to Allen how to make music using a bicycle and a prerecorded electronic tape, in an appearance that Zappa would parody five years later on the Monkees' TV show: [Excerpt: Steve Allen and Frank Zappa, "Cyclophony"] But possibly the record that made the most impact at the time was "Memories of El Monte", a song that Zappa and Collins wrote together about Art Laboe's dances at El Monte Stadium, incorporating excerpts of several of the songs that would be played there, and named after a compilation Laboe had put out, which had included “I Remember Linda” by Little Julian and the Tigers. They got Cleve Duncan of the Penguins to sing lead, and the record came out as by the Penguins, on Original Sound: [Excerpt: The Penguins, "Memories of El Monte"] By this point, though, Pal studios was losing money, and Buff took up the offer of a job working for Laboe full time, as an engineer at Original Sound. He would later become best known for inventing the kepex, an early noise gate which engineer Alan Parsons used on a bass drum to create the "heartbeat" that opens Pink Floyd's Dark Side of the Moon: [Excerpt: Pink Floyd, "Speak to Me"] That invention would possibly be Buff's most lasting contribution to music, as by the early eighties, the drum sound on every single pop record was recorded using a noise gate. Buff sold the studio to Zappa, who renamed it Studio Z and moved in -- he was going through a divorce and had nowhere else to live. The studio had no shower, and Zappa had to just use a sink to wash, and he was surviving mostly off food scrounged by his resourceful friend Motorhead Sherwood. By this point, Zappa had also joined a band called the Soots, consisting of Don Van Vliet, Alex St. Clair and Vic Mortenson, and they recorded several tracks at Studio Z, which they tried to get released on Dot Records, including a cover version of Little Richard's “Slippin' and Slidin'”, and a song called “Tiger Roach” whose lyrics were mostly random phrases culled from a Green Lantern comic: [Excerpt: The Soots, "Tiger Roach"] Zappa also started writing what was intended as the first ever rock opera, "I Was a Teenage Maltshop", and attempts were made to record parts of it with Vliet, Mortenson, and Motorhead Sherwood: [Excerpt: Frank Zappa, "I Was a Teenage Maltshop"] Zappa was also planning to turn Studio Z into a film studio. He obtained some used film equipment, and started planning a science fiction film to feature Vliet, titled "Captain Beefheart Meets the Grunt People". The title was inspired by an uncle of Vliet's, who lived with Vliet and his girlfriend, and used to urinate with the door open so he could expose himself to Vliet's girlfriend, saying as he did so "Look at that! Looks just like a big beef heart!" Unfortunately, the film would not get very far. Zappa was approached by a used-car salesman who said that he and his friends were having a stag party. As Zappa owned a film studio, could he make them a pornographic film to show at the party? Zappa told him that a film wouldn't be possible, but as he needed the money, would an audio tape be acceptable? The used-car salesman said that it would, and gave him a list of sex acts he and his friends would like to hear. Zappa and a friend, Lorraine Belcher, went into the studio and made a few grunting noises and sound effects. The used-car salesman turned out actually to be an undercover policeman, who was better known in the area for his entrapment of gay men, but had decided to branch out. Zappa and Belcher were arrested -- Zappa's father bailed him out, and Zappa got an advance from Art Laboe to pay Belcher's bail. Luckily "Grunion Run" and "Memories of El Monte" were doing well enough that Laboe could give Zappa a $1500 advance. When the case finally came to trial, the judge laughed at the tape and wanted to throw the whole case out, but the prosecutor insisted on fighting, and Zappa got ten days in prison, and most of his tapes were impounded, never to be returned. He fell behind with his rent, and Studio Z was demolished. And then Ray Collins called him, asking if he wanted to join a bar band: [Excerpt: The Mothers, "Hitch-Hike"] The Soul Giants were formed by a bass player named Roy Estrada. Now, Estrada is unfortunately someone who will come up in the story a fair bit over the next year or so, as he played on several of the most important records to come out of LA in the sixties and early seventies. He is also someone about whom there's fairly little biographical information -- he's not been interviewed much, compared to pretty much everyone else, and it's easy to understand why when you realise that he's currently half-way through a twenty-five year sentence for child molestation -- his third such conviction. He won't get out of prison until he's ninety-three. He's one of the most despicable people who will turn up in this podcast, and frankly I'm quite glad I don't know more about him as a person. He was, though, a good bass player and falsetto singer, and he had released a single on King Records, an instrumental titled "Jungle Dreams": [Excerpt, Roy Estrada and the Rocketeers, "Jungle Dreams"] The other member of the rhythm section, Jimmy Carl Black, was an American Indian (that's the term he always used about himself until his death, and so that's the term I'll use about him too) from Texas. Black had grown up in El Paso as a fan of Western Swing music, especially Bob Wills, but had become an R&B fan after discovering Wolfman Jack's radio show and hearing the music of Howlin' Wolf and Sonny Boy Williamson. Like every young man from El Paso, he would travel to Juarez as a teenager to get drunk, see sex shows, and raise hell. It was also there that he saw his first live blues music, watching Long John Hunter, the same man who inspired the Bobby Fuller Four, and he would always claim Hunter as the man whose shows taught him how to play the blues. Black had decided he wanted to become a musician when he'd seen Elvis perform live. In Black's memory, this was a gig where Elvis was an unknown support act for Faron Young and Wanda Jackson, but he was almost certainly slightly misremembering -- it's most likely that what he saw was Elvis' show in El Paso on the eleventh of April 1956, where Young and Jackson were also on the bill, but supporting Elvis who was headlining. Either way, Black had decided that he wanted to make girls react to him the same way they reacted to Elvis, and he started playing in various country and R&B bands. His first record was with a group called the Keys, and unfortunately I haven't been able to track down a copy (it was reissued on a CD in the nineties, but the CD itself is now out of print and sells for sixty pounds) but he did rerecord the song with a later group he led, the Mannish Boys: [Excerpt: Jimmy Carl Black and the Mannish Boys, "Stretch Pants"] He spent a couple of years in the Air Force, but continued playing music during that time, including in a band called The Exceptions which featured Peter Cetera later of the band Chicago, on bass. After a brief time working as lineman in Wichita, he moved his family to California, where he got a job teaching drums at a music shop in Anaheim, where the bass teacher was Jim Fielder, who would later play bass in Blood, Sweat, and Tears. One of Fielder's friends, Tim Buckley, used to hang around in the shop as well, and Black was at first irritated by him coming in and playing the guitars and not buying anything, but eventually became impressed by his music. Black would later introduce Buckley to Herb Cohen, who would become Buckley's manager, starting his professional career. When Roy Estrada came into the shop, he and Black struck up a friendship, and Estrada asked Black to join his band The Soul Giants, whose lineup became Estrada, Black, a sax player named Davey Coronado, a guitarist called Larry and a singer called Dave. The group got a residency at the Broadside club in Ponoma, playing "Woolly Bully" and "Louie Louie" and other garage-band staples. But then Larry and Dave got drafted, and the group got in two men called Ray -- Ray Collins on vocals, and Ray Hunt on guitar. This worked for a little while, but Ray Hunt was, by all accounts, not a great guitar player -- he would play wrong chords, and also he was fundamentally a surf player while the Soul Giants were an R&B group. Eventually, Collins and Hunt got into a fistfight, and Collins suggested that they get in his friend Frank instead. For a while, the Soul Giants continued playing "Midnight Hour" and "Louie Louie", but then Zappa suggested that they start playing some of his original material as well. Davy Coronado refused to play original material, because he thought, correctly, that it would lose the band gigs, but the rest of the band sided with the man who had quickly become their new leader. Coronado moved back to Texas, and on Mother's Day 1965 the Soul Giants changed their name to the Mothers. They got in Henry Vestine on second guitar, and started playing Zappa's originals, as well as changing the lyrics to some of the hits they were playing: [Excerpt: The Mothers, "Plastic People"] Zappa had started associating with the freak crowd in Hollywood centred around Vito and Franzoni, after being introduced by Don Cerveris, his old teacher turned screenwriter, to an artist called Mark Cheka, who Zappa invited to manage the group. Cheka in turn brought in his friend Herb Cohen, who managed several folk acts including the Modern Folk Quartet and Judy Henske, and who like Zappa had once been arrested on obscenity charges, in Cohen's case for promoting gigs by the comedian Lenny Bruce. Cohen first saw the Mothers when they were recording their appearance in an exploitation film called Mondo Hollywood. They were playing in a party scene, using equipment borrowed from Jim Guercio, a session musician who would briefly join the Mothers, but who is now best known for having been Chicago's manager and producing hit records for them and Blood, Sweat, and Tears. In the crowd were Vito and Franzoni, Bryan Maclean, Ram Dass, the Harvard psychologist who had collaborated with Timothy Leary in controversial LSD experiments that had led to both losing their jobs, and other stalwarts of the Sunset Strip scene. Cohen got the group bookings at the Whisky A-Go-Go and The Trip, two of the premier LA nightclubs, and Zappa would also sit in with other bands playing at those venues, like the Grass Roots, a band featuring Bryan Maclean and Arthur Lee which would soon change its name to Love. At this time Zappa and Henry Vestine lived together, next door to a singer named Victoria Winston, who at the time was in a duo called Summer's Children with Curt Boettcher: [Excerpt: Summer's Children, "Milk and Honey"] Winston, like Zappa, was a fan of Edgard Varese, and actually asked Zappa to write songs for Summer's Children, but one of the partners involved in their production company disliked Zappa's material and the collaboration went no further. Zappa at this point was trying to incorporate more ideas from modal jazz into his music. He was particularly impressed by Eric Dolphy's 1964 album "Out to Lunch": [Excerpt: Eric Dolphy, "Hat and Beard"] But he was also writing more about social issues, and in particular he had written a song called "The Watts Riots Song", which would later be renamed "Trouble Every Day": [Excerpt: The Mothers of Invention, "Trouble Every Day"] Now, the Watts Uprising was one of the most important events in Black American history, and it feels quite wrong that I'm covering it in an episode about a band made up of white, Latino, and American Indian people rather than a record made by Black people, but I couldn't find any way to fit it in anywhere else. As you will remember me saying in the episode on "I Fought the Law", the LA police under Chief William Parker were essentially a criminal gang by any other name -- they were incompetent, violent, and institutionally racist, and terrorised Black people. The Black people of LA were also feeling particularly aggrieved in the summer of 1965, as a law banning segregation in housing had been overturned by a ballot proposition in November 1964, sponsored by the real estate industry and passed by an overwhelming majority of white voters in what Martin Luther King called "one of the most shameful developments in our nation's history", and which Edmund Brown, the Democratic governor said was like "another hate binge which began more than 30 years ago in a Munich beer hall". Then on Wednesday, August 11, 1965, the police pulled over a Black man, Marquette Frye, for drunk driving. He had been driving his mother's car, and she lived nearby, and she came out to shout at him about drinking and driving. The mother, Rena Price, was hit by one of the policemen; Frye then physically attacked one of the police for hitting his mother, one of the police pulled out a gun, a crowd gathered, the police became violent against the crowd, a rumour spread that they had kicked a pregnant woman, and the resulting protests were exacerbated by the police carrying out what Chief Parker described as a "paramiltary" response. The National Guard were called in, huge swathes of south central LA were cordoned off by the police with signs saying things like "turn left or get shot". Black residents started setting fire to and looting local white-owned businesses that had been exploiting Black workers and customers, though this looting was very much confined to individuals who were known to have made the situation worse. Eventually it took six days for the uprising to be put down, at a cost of thirty-four deaths, 1032 injuries, and 3438 arrests. Of the deaths, twenty-three were Black civilians murdered by the police, and zero were police murdered by Black civilians (two police were killed by other police, in accidental shootings). The civil rights activist Bayard Rustin said of the uprising, "The whole point of the outbreak in Watts was that it marked the first major rebellion of Negroes against their own masochism and was carried on with the express purpose of asserting that they would no longer quietly submit to the deprivation of slum life." Frank Zappa's musical hero Johnny Otis would later publish the book Listen to the Lambs about the Watts rebellion, and in it he devotes more than thirty pages to eyewitness accounts from Black people. It's an absolutely invaluable resource. One of the people Otis interviews is Lily Ford, who is described by my copy of the book as being the "lead singer of the famous Roulettes". This is presumably an error made by the publishers, rather than Otis, because Ford was actually a singer with the Raelettes, as in Ray Charles' vocal group. She also recorded with Otis under the name "Lily of the Valley": [Excerpt: Lily of the Valley, "I Had a Sweet Dream"] Now, Ford's account deserves a large excerpt, but be warned, this is very, very difficult to hear. I gave a content warning at the beginning, but I'm going to give another one here. "A lot of our people were in the street, seeing if they could get free food and clothes and furniture, and some of them taking liquor too. But the white man was out for blood. Then three boys came down the street, laughing and talking. They were teenagers, about fifteen or sixteen years old. As they got right at the store they seemed to debate whether they would go inside. One boy started a couple of times to go. Finally he did. Now a cop car finally stops to investigate. Police got out of the car. Meanwhile, the other two boys had seen them coming and they ran. My brother-in-law and I were screaming and yelling for the boy to get out. He didn't hear us, or was too scared to move. He never had a chance. This young cop walked up to the broken window and looked in as the other one went round the back and fired some shots and I just knew he'd killed the other two boys, but I guess he missed. He came around front again. By now other police cars had come. The cop at the window aimed his gun. He stopped and looked back at a policeman sitting in a car. He aimed again. No shot. I tried to scream, but I was so horrified that nothing would come out of my throat. The third time he aimed he yelled, "Halt", and fired before the word was out of his mouth. Then he turned around and made a bull's-eye sign with his fingers to his partner. Just as though he had shot a tin can off a fence, not a human being. The cops stood around for ten or fifteen minutes without going inside to see if the kid was alive or dead. When the ambulance came, then they went in. They dragged him out like he was a sack of potatoes. Cops were everywhere now. So many cops for just one murder." [Excerpt: The Mothers of Invention, "Trouble Every Day"] There's a lot more of this sort of account in Otis' book, and it's all worth reading -- indeed, I would argue that it is *necessary* reading. And Otis keeps making a point which I quoted back in the episode on "Willie and the Hand Jive" but which I will quote again here -- “A newborn Negro baby has less chance of survival than a white. A Negro baby will have its life ended seven years sooner. This is not some biological phenomenon linked to skin colour, like sickle-cell anaemia; this is a national crime, linked to a white-supremacist way of life and compounded by indifference”. (Just a reminder, the word “Negro” which Otis uses there was, in the mid-sixties, the term of choice used by Black people.) And it's this which inspired "The Watts Riot Song", which the Mothers were playing when Tom Wilson was brought into The Trip by Herb Cohen: [Excerpt: The Mothers of Invention, "Trouble Every Day"] Wilson had just moved from Columbia, where he'd been producing Dylan and Simon and Garfunkel, to Verve, a subsidiary of MGM which was known for jazz records but was moving into rock and roll. Wilson was looking for a white blues band, and thought he'd found one. He signed the group without hearing any other songs. Henry Vestine quit the group between the signing and the first recording, to go and join an *actual* white blues band, Canned Heat, and over the next year the group's lineup would fluctuate quite a bit around the core of Zappa, Collins, Estrada, and Black, with members like Steve Mann, Jim Guercio, Jim Fielder, and Van Dyke Parks coming and going, often without any recordings being made of their performances. The lineup on what became the group's first album, Freak Out! was Zappa, Collins, Estrada, Black, and Elliot Ingber, the former guitarist with the Gamblers, who had joined the group shortly before the session and would leave within a few months. The first track the group recorded, "Any Way the Wind Blows", was straightforward enough: [Excerpt: The Mothers of Invention, "Any Way the Wind Blows"] The second song, a "Satisfaction" knock-off called "Hungry Freaks Daddy", was also fine. But it was when the group performed their third song of the session, "Who Are The Brain Police?", that Tom Wilson realised that he didn't have a standard band on his hands: [Excerpt: The Mothers of Invention, "Who Are the Brain Police?"] Luckily for everyone concerned, Tom Wilson was probably the single best producer in America to have discovered the Mothers. While he was at the time primarily known for his folk-rock productions, he had built his early career on Cecil Taylor and Sun Ra records, some of the freakiest jazz of the fifties and early sixties. He knew what needed to be done -- he needed a bigger budget. Far from being annoyed that he didn't have the white blues band he wanted, Wilson actively encouraged the group to go much, much further. He brought in Wrecking Crew members to augment the band (though one of them. Mac Rebennack, found the music so irritating he pretended he needed to go to the toilet, walked out, and never came back). He got orchestral musicians to play Zappa's scores, and allowed the group to rent hundreds of dollars of percussion instruments for the side-long track "Return of the Son of Monster Magnet", which features many Hollywood scenesters of the time, including Van Dyke Parks, Kim Fowley, future Manson family member Bobby Beausoleil, record executive David Anderle, songwriter P.F. Sloan, and cartoonist Terry Gilliam, all recording percussion parts and vocal noises: [Excerpt: The Mothers of Invention, "Return of the Son of Monster Magnet"] Such was Wilson's belief in the group that Freak Out! became only the second rock double album ever released -- exactly a week after the first, Blonde on Blonde, by Wilson's former associate Bob Dylan. The inner sleeve included a huge list of people who had influenced the record in one way or another, including people Zappa knew like Don Cerveris, Don Vliet, Paul Buff, Bob Keane, Nik Venet, and Art Laboe,  musicians who had influenced the group like Don & Dewey, Johnny Otis, Otis' sax players Preston Love and Big Jay McNeely, Eric Dolphy, Edgard Varese, Richard Berry, Johnny Guitar Watson, and Ravi Shankar, eccentric performers like Tiny Tim, DJs like Hunter Hancock and Huggy Boy, science fiction writers like Cordwainer Smith and Robert Sheckley, and scenesters like David Crosby, Vito, and Franzoni. The list of 179 people would provide a sort of guide for many listeners, who would seek out those names and find their ways into the realms of non-mainstream music, writing, and art over the next few decades. Zappa would always remain grateful to Wilson for taking his side in the record's production, saying "Wilson was sticking his neck out. He laid his job on the line by producing the album. MGM felt that they had spent too much money on the album". The one thing Wilson couldn't do, though, was persuade the label that the group's name could stay as it was. "The Mothers" was a euphemism, for a word I can't say if I want this podcast to keep its clean rating, a word that is often replaced in TV clean edits of films with "melon farmers", and MGM were convinced that the radio would never play any music by a band with that name -- not realising that that wouldn't be the reason this music wouldn't get played on the radio. The group needed to change their name. And so, out of necessity, they became the Mothers of Invention.

Neste programa, o maestro João Mauricio Galindo responde perguntas sobre a relação entre Rachmaninov e Tolstói; a origem do cravo e seu repertório; a importância da acústica de uma sala de concertos; orquestrações das obras dos grandes compositores; "Ionização" de Edgard Varèse.

durée : 00:28:40 - Avec Bruno Giner - par : Philippe Venturini - "Je suis un pauvre con qui emmerde les gens" il faut dire qu'Edgard Varèse aura déstabilisé ses auditeurs, les mélomanes comme les critiques qui ne gênaient pas pour qualifier sa musique "bruyante" semblable à des "mugissements et cris de zoo" Était-il trop en avance sur son époque ?" P. Venturini - réalisé par : Laurent Lefrançois

Intro: Serene Ailment Incantation Praxis from cold_storage   The Amplified Elephants Deep Creatures (Heavy Machinery + flash fwd, 2021)Shipwreck Dinner ShoreDiving Shipwreck & PithosApotheosis The Amplified Elephants is a leading sound art ensemble made up of members including Teagan Connor, Jay Euesden, Megan Hunter, Helen Kruljac, Robyn McGrath, Daniel Munnery, Kathryn Sutherland, Esther Tuddenham, Natalie Walters and James Hullick.'Deep Creatures' is a blissful deep dive into a sonic world of freely associated imagination, exploring an interplay of electronic ambient sound, cinematic spaces, vocal work and poetry. This deeply evocative album outlines the abstract journey of a young woman called to the seashore. She dives down to a mysterious shipwreck filled with wondrous deep-sea creatures.Called to the sea by The Following (performed by The Amplified Elephants) – a council of benevolent interdimensional aliens – a young woman is taken to a sunken ship where she unlocks a giant clay urn unleashing the godlike creature from within. She is transformed by this radical experience.First single 'Shipwreck' draws the listener on an immersive waterworld journey. Cinematic sequences highlight some deeper dreamlike narrative at play. This ambient field recording washed track marks The Amplified Elephants ascending to the pinnacle of their arresting sonic abilities. Their expression and creative language made all the more ear catching through their lived experience and perception as artists living with neurological diversity.The Amplified Elephants dive to great auditory and visual depths linking sonic art; video art; deep ocean creatures and their own take on the infinite brilliance of the creative mind. At times ambient; at times oceanic; at times strident with powerful sonic waves.l depths linking sonic art; video art; deep ocean creatures and their own take on the infinite brilliance of the creative mind. At times ambient; at times oceanic; at times strident with powerful sonic waves. released September 6, 2021 Candlesnuffer apsomeophonebad snake laughmoney's dark nightforged baggage 2voices of the air shaft 2travel over books roughlyFrom David Brown‘apsomeophone' grew out of love for and, from a listener's point of view, an historical immersion in a tight group of compositions by musique concréte, film soundtrack and Twentieth Century Classical composers. These listening experiences became entwined, at some stage, with my own ponderings round a desire to compose a group of very personally suited recordings, to be utilised in a live context as a proxy ensemble accompaniment to my slowly blossoming and evolving prepared guitar techniques.Through a compositional process that I would loosely describe as ‘aural sculpture', I extracted snippets of sound and short musical passages from these adored compositions (the list of composers borrowed from includes Béla Bartók, John Cage, Pierre Henry, György Ligeti, Tōru Takemitsu and Edgard Varése). These small sonic extractions I then processed heavily, augmented spatially and timbrally and began to arrange into fragmented groupings, making correlations pleasing to my ear. This transfigurative process became a long drawn out undertaking, soon enriched and complicated by the systematic and responsive addition of other fragmentary sounds generated through the use of my own guitars, stringed instruments and electronics. And…., on the layering and editing went as I meandered towards a final point of sonic sculptural satisfaction. As a group of odes, each of the final compositions on ‘apsomeophone' focuses on one or two of the aforementioned, inspirational listening antecedents.Fifteen years later, the compositions throughout ‘apsomeophone' still hold a warm grip on me and, though distant timewise, I still feel saturated with all the minutiae of the compositional processes, a feeling akin to being immersed in a supportive body of warm water. It's a record that I'm really attached to and remain entwined with to the point where the working methods which gestated there have become the norm for me. It's a heavily pored over record, where somehow nothing is out of place, and I believe it's a record loosely in the mode of its predecessors. Released September 17, 2021

Stuart prompts a startling confession from Elizabeth through his recounting of the story of David Bowie's obsession with 1984. Before that she delves into the remarkable tale of composer Edgard Varèse and the huge influence he had on musicians including Charlie Parker and Frank Zappa. All that and a Notable Exception every bit as tangled as a C90 cassette that's been spat out of the tape player. See acast.com/privacy for privacy and opt-out information.

Hosts Jim DeRogatis and Greg Kot discuss the life and career of Frank Zappa with actor and documentarian Alex Winter, director of ZAPPA. They also review the new album by Viagra Boys. Become a member on Patreon: https://www.patreon.com/soundopinionsMake a donation via PayPal: https://bit.ly/36zIhZK Record a Voice Memo: https://www.micdropp.com/studio/5febf006eba45/ Featured Songs:Frank Zappa, "Peaches en Regalia," Hot Rats, Bizarre, 1969Viagra Boys, "I Feel Alive," Welfare Jazz, Year0001, 2021Viagra Boys, "Ain't Nice," Welfare Jazz, Year0002, 2021Viagra Boys, "Into the Sun," Welfare Jazz, Year0003, 2021Viagra Boys, "Creatures," Welfare Jazz, Year0004, 2021Viagra Boys, "In Spite of Ourselves (feat. Amy Taylor)," Welfare Jazz, Year0005, 2021Frank Zappa, "Valley Girl (feat. Moon Zappa)," Ship Arriving Too Late to Save a Drowning Witch, Barking Pumpkin, 1982Frank Zappa and The Mothers of Invention, "Camarillo Brillo," Over-Nite Sensation, DiscReet, 1973Frank Zappa, "Willie the Pimp," Hot Rats, Bizarre, 1969Frank Zappa and Ensemble Modern, "Dog Breath Variations," The Yellow Shark, Barking Pumpkin, 1993Edgard Varèse, "Poème électronique," Music of Edgard Varèse, Columbia, 1960The Mothers of Invention, "Trouble Every Day," Freak Out, Verve, 1966Frank Zappa, "The Black Page, No. 2 (Live)," Baby Snakes, Barking Pumpkin, 1983The Mothers of Invention, "Didja Get Any Onya," Weasels Rip My Flesh, Bizarre, 1970John Carpenter, "Halloween Theme," Halloween (Original Motion Picture Soundtrack), Columbia, 1979 

The Modern Period – Part V This week we hear works by Edgard Varèse, Rued Langgaard, Walter Leigh, Elmer Bernstein, György Sándor Ligeti, George Crumb, Krzysztof Penderecki, Thomas Adès, Warlock Sonny Bellavance, and Cheryl Frances-Hoad. 145 Minutes – Week of January 04, 2021

George and Paco sit down with musician and journalist Kevin Seal to recap Alex Winter’s 2020 documentary Zappa. On this episode we have three different Frank Zappa fans ranging from George, who is new to Zappa’s music, to Kevin, who loves Zappa but occasionally needs a break to Paco, who has been a life long Zappa-head. We get into many topics including: would Zappa be a Trumper, our collective love of Ruth Underwood, Steve Vai’s audition, how art should be a threat to the establishment, Gail Zappa, being an archivist, Captain Beefheart, Edgard Varèse and much more!Frank Zappa – you either love him or hate him. There is no in between. There have been a few Zappa documentaries out in the last few years but this time it would seem that Alex Winter is a fan first and filmmaker second. “Zappa” is a six-years-in-the-making love letter. Alex was given the family’s blessing and access to the prolific musician’s personal vault and he used as much as he could. We are privy to rarely seen and heard music, films, home movies and interviews up to the point of being just a few months before Zappa’s death in 1993.Kevin Seal has been writing and recording unfashionable music since the ’90s. His band Griddle released four studio records, including a concept album about Olympic athletes and cannibalism. He has played and sung on albums by 20 Minute Loop, Michael Zapruder, and more. Since the shelter-at-home began, he has co-hosted a music game show called Lo Fidelity. He grew up in Cincinnati.Follow Kevin on:Twitter: @Kevin_sealInstagram: @Kevin_sealFollow us on:Twitter: @supdocpodcastInstagram: @supdocpodcastFacebook: @supdocpodcastsign up for our mailing listAnd you can show your support to Sup Doc by donating on Patreon.

Jazzvaneio 03, Imersão em quatro atos: Álbuns Década de 70Ato Terceiro: Charles Mingus “Let My Children Hear Music”Terceiro de quatro PodCast que propõem uma desafiadora imersão aos anos 70. Um homem e sua inexorável ânsia de expandir a linguagem da música e da composição improvisada pelos próprios alicerces do Jazz às últimas consequências. Um subversivo e visionário Charles Mingus precipita-se a tal empresa como um Colosso em plena comunhão com a “Terra” e suas raízes. Um impiedoso e ambíguo emaranhado de maiúscula sofisticação irmanado a um “primitivismo” não isento de crueza. “Let My Children Hear Music” é um manifesto compositivo que ainda assombra e apaixona impunemente os amantes de música. Uma obra de arte ímpar, estamos em 1972...Preparem-se!Album: Charles Mingus “Let My Children Hear Music” 1972 - Columbiawww.charlesmingus.comAto gravado no dia 15 de Setembro de 2020Texto da “The Chill of Death” Charles Mingus “Let MY Children Hear Music”:“The chill of death as she clutched my hand.I knew she was coming so I stood like a man. She drew up closer, close enough for me to look into her face, and then began to wonder, "Haven't I seen you some other place?" She beckoned for me to come closer as if to pay an old debt. I knew what she wanted; it wasn't quite time yet. She threw her arms about me as many women had done before. I heard her whisper, "You'll never cheat me, never anymore." Darkness and nothingness clouded my mind. I began to realise death was nothing to fear but something sweet and kind. I pinched to see if I was dreaming but failed to find bodily form. I then began to realize death had worked her charm. Taking myself of nothingness I chose a road to walk. I noticed death's pleasantness with no one to stop me to talk. I remembered stories of heaven as I envisioned the glory ahead. Two roads lay waiting for me to choose one now that I was dead. One road was dark; I could not see clearly such long stretched highway. The other road was golden and glowing, and shined as bright as day. I then remember stories of pearly gates, golden streets... or how... however those stories are told. I knew I'd reach heaven on this highway. If not, I'd have the gold. I took one footstep feeling safe and acting bold. Suddenly, I realised my mistake. My chosen road turned black, bittery, and white cold. No longer was it golden glory nor heaven that it's in. White hot flames were blazing; I saw the devil with his grin. I had taken but one footstep so I turned to hurry back. But there a sound more waited, not a door, nor a crack. Finally, coming to my senses, I walked on to my hell. For long before death had called me, my end was planned. Planned, but well”.Outras Referências Artísticas e “culturais” (por ordem de menção): Third Stream (movimento que buscava a incorporação de influências da música de câmera e sinfônica clássica ao Jazz nos anos 70), Pithecanthropus Erectus (Álbum do Charles Mingus), The Clown (Álbum do Charles Mingus), Mingus Ah Um (Álbum do Charles Mingus), The Black Saint and The Sinner Lady (Álbum do Charles Mingus), Joni Mitchell (Músico), Mingus (Álbum da Joni Mitchell), Herbie Hancock (Músico), Wayne Shorter (Músico), Teo Macero (Produdor Musical), Bitches Brew (Álbum do Miles Davis), In a Silent Way (Álbum do Miles Davis), Kind of Blue (Álbum do Miles Davis), Time Out (Álbum do Dave Brubeck), Miles Davis (Músico), Federico Fellini (Diretor de Cinema), Mr. Bungle (banda de Rock), Cardiacs (Banda de Rock), Duke Ellington (Músico), Edgard Varèse (Músico), Arnold Schoenberg (Músico), Pierre Boulez (Músico), Olivier Messiaen (Músico), Glenn Miller (Músico), Charlie Parker (Músico), Tidal (Plataforma de Streaming), Godfather (Filme Dirigido por Francis For Coppola), Nino Rota (Músico), The Halls of Fear (Música da trilha sonora do filme Godfather de 1972), Frank Zappa (Músico), Studio Tan (Álbum do Frank Zappa), The Adventures Of Greggery Peccary (Música do Frank Zappa) eBaratos Afins (Loja e Selo Musical de São Paulo).Contato: info@jazzvaneio.com

Emma and Gil welcome Kathryn Hymes and Hakan Seyalıoğlu to the show to discuss the impact of language on play, and how to design games that revolve around the building, modification, and demise of a language. SHOW NOTES 2m52s: Here's the Kickstarter for Thorny's new game Xenolanguage. 6m45s: Among Us is a social deduction digital game that, after a quiet two years on the market, suddenly blew up on Twitch and is now extremely popular. US congressional representative Alexandria Ocasio-Cortez made headlines when she played the game live on Twitch with several popular streamers (and fellow representative Ilhan Omar, who turned out to be very good at the game).  9m09s: Myst 9m36s: Here's our episode on the Incan Gold experiment, run by Dr. Stephen Blessing of the University of Tampa. 15m43s: Dialect (Watch a playthrough with Hakan here) 20m33s: The earliest instance that the OED has found of the singular "they" is from 1375. 38m47s: Gil, Geoff, and Scott dug deep into party game design in Ludology 190 - The Life of the Party. 45m15s: Sign 49m47s: More info about the fascinating instrument known as the theremin. 52m54s: The instrument called the ondes Martenot (Gil apologies profusely to all French listeners for his poor pronunciation skills!). You can see its inner workings discussed here (video in French with English subtitles). You can hear it as one of the instruments in this absolutely wild Edgard Varése composition. 55m18s: More info on Code Talkers and how they helped transmit encoded messages in wartime. 56m01s: Here's a thread with Magic fans playing the translation game on Jace. 56m35s: Kathryn's GDC talk on artifacts of play. 58m07s: A Fake Artist Goes to New York 58m48s: Fall of Magic 59m15s: Qwixx 1h08m18s: A Buzzfeed article (forgive me) on how red Solo cups are viewed outside the US as a uniquely American symbol.  1h08m38s: Thorny Games on the web and Instagram. Also, you can find Kathryn and Hakan on Twitter.

Jazzvaneio 03, Imersão em quatro atos: Álbuns Década de 70Ato Primeiro: Introdução aos 70 e Mahavishnu Orchestra “Inner Mounting Flame”Primeiro de quatro PodCast que propõem uma desafiadora imersão aos anos 70. Visualizamos aqui o contexto do Jazz na década, sua “permeabilidade” artística e capacidade de transformação como propulsores de uma “nova” e inspiradora era musical. Em “choque” adentramos no período com o avassalador e não menos perturbador “Inner Mounting Flame” de um ainda jovem e espiritual John Mclaughlin e seu Mahavishnu Orchestra. Inconsequente, esta obra não deixou pedra sobre pedra ou indiferença pelo caminho. Estamos em 1971...Respiremos!!Album: Mahavishnu Orchestra “Inner Mounting Flame” 1971 - Columbiahttp://www.mahavishnuorchestra.com/Ato gravado no dia 10 de Setembro de 2020Poema inspirado em “A Lotus On Irish Streams”: “Esta obra é para mim um poema, uma chama de profunda e desconhecida nostalgia e tristeza. É um lamento prostrado invocado pela observação da beleza ao diluir-se, um pranto interior oco ao desaparecer de uma inspiração no horizonte e a desconexão eterna de duas mãos entrelaçadas nas memórias do tempo. O lamurio se concebe num sublime conjunto de tranças e danças em trio de piano/teclado, guitarra acústica e violino. Deixo ao ouvinte a batuta interpretativa aqui, não tenho a audácia de dizer nada mais ante tamanha sensibilidade” Marcelo Linuesa Outras Referências Artísticas e “culturais” (por ordem de menção): George Martin (Produtor Musical), Phil Spector (Produtor Musical), Beatles (Banda de Rock), Jimi Hendrix (Músico), The Who (Banda de Rock), Rolling Stones (Banda de Rock), Miles Davis (Músico), Frank Zappa (Músico), Igor Stravinsky (Músico), Gustav Mahler (Músico), Claude Debussy (Músico), Arnold Schoenberg (Músico), Alban Berg (Compositor), Edgard Varèse (Músico), Joao Gilberto (Músico), Stan Getz (Músico), Leonard Bernstein (Músico), West Side Story (Musical composto por Leonard Bernstein e libreto de Arthur Laurents), Al di Meola (Músico), Mainstream (no contexto da música, são trabalhos reconhecidos como “convencionais”, de grande popularidade e sucesso econômico), Yes (Banda de Rock), Billboard (classificação de álbums e músicas baseada em estatísticas de vendas e popularidade), Genesis (Banda de Rock), King Crimson (Banda de Rock), Don Puluse (Engenheiro de Som), Pro Tools (estação de trabajo de áudio digital), Disney (Multinacional norte-americana de Entretenimento), Tony Williams (Músico), In a Silent Way (Álbum do Miles Davis), Bitches Brew (Álbum do Miles Davis), Live-Evil (Álbum do Miles Davis), (Álbum do Miles Davis), On the Corner (Álbum do Miles Davis), My Goal is Beyond (Álbum do John McLaughlin, Sri Chinmoy (Líder espiritual Indiano), Dreams (Banda de Jazz), Randy Brecker (Músico), Michael Brecker (Músico), John Abercrombie (Músico), Sarah Vaughan (Músico), Elvin Jones (Músico), Jeremy Steig (Músico), The Flock (Banda de Rock), The Flock (Álbum do The Flock), Dinosaur Swamps (Álbum do The Flock), Larry Coryell (Músico), Joe Zawinul (Músico), John Coltrane (Músico), Charles Mingus (Músico), Islands (Álbum do King Crimson), Carlos Santana (Músico), Red (Álbum do King Crimson) e Hot Rats (Álbum do Frank Zappa).Contato: info@jazzvaneio.com

Pleisterplaats; de jaren tot 1952, waarin Walter Maas een vorm vindt om zijn dankbaarheid mee uit te drukken en de wederopbouw van het culturele leven in Europa; Walter dwingt zich met zijn Duitse afkomst uiteen te zetten. Pleisterplaats; de jaren tot 1952, waarin Walter Maas een vorm vindt om zijn dankbaarheid mee uit te drukken en de wederopbouw van het culturele leven in Europa; Walter dwingt zich met zijn Duitse afkomst uiteen te zetten. Muziekfragmenten uit: Edgard Varèse - Déserts; part 4. Wolfgang Fortner - Shakespeare-Songs: No. 2, O Mistress Mine. Julius Röntgen - Sonate voor viool en piano, op.40 in E gr.t. deel III Lento. Henk Stam - Sonate voor viool en piano. Peter Racine Fricker - Sonate voor viool en piano nr.1, op.12, deel III. Jaap Geraedts - Sonatina For Flute And Piano (1953). Arnold Schoenberg - Klavierstücke, Op. 33a – Mäßig langsam. Peter Schat - Septet voor piano, blazers [4], cello en slagwerk, op.3.

Toevluchtsoord; de jaren tot 1945, waarin een componist een huis laat bouwen voor zijn laatste werk- en levensfase, en een Joodse lingerie-verkoper net op tijd uit Duitsland vlucht en hier in Nederland een veilig onderkomen zoekt. Muziekfragmenten uit: Jan van Vlijmen - Quaterni. Edgard Varèse - Déserts. Julius Röntgen - Pianotrio Nr. 10. A Gr. II. Vivace. Julius Röntgen - Kwintet voor piano, violen [2], altviool en cello in G gr.t., 1932 deel I. Franz Schubert - Strijkkwintet D.956, op.posth.163 in C gr.t. III. Scherzo. Presto – Trio. Andante sostenuto. Julius Röntgen - Kwintet voor piano, violen [2], altviool en cello, op.100 in a kl.t.

From the publisher: In 2003, music journalist Philip Clark was granted unparalleled access to jazz legend Dave Brubeck. Over the course of ten days, he shadowed the Dave Brubeck Quartet during their extended British tour, recording an epic interview with the bandleader. Brubeck opened up as never before, disclosing his unique approach to jazz; the heady days of his "classic" quartet in the 1950s-60s; hanging out with Duke Ellington, Charlie Parker, Louis Armstrong, and Miles Davis; and the many controversies that had dogged his 66-year-long career. Alongside beloved figures like Ella Fitzgerald and Frank Sinatra, Brubeck's music has achieved name recognition beyond jazz. But finding a convincing fit for Brubeck's legacy, one that reconciles his mass popularity with his advanced musical technique, has proved largely elusive. In Dave Brubeck: A Life in Time, Clark provides us with a thoughtful, thorough, and long-overdue biography of an extraordinary man whose influence continues to inform and inspire musicians today. Structured around Clark's extended interview and intensive new research, this book tells one of the last untold stories of jazz, unearthing the secret history of "Take Five" and many hitherto unknown aspects of Brubeck's early career - and about his creative relationship with his star saxophonist Paul Desmond. Woven throughout are cameo appearances from a host of unlikely figures from Sting, Ray Manzarek of The Doors, and Keith Emerson, to John Cage, Leonard Bernstein, Harry Partch, and Edgard Varèse. Each chapter explores a different theme or aspect of Brubeck's life and music, illuminating the core of his artistry and genius. To quote President Obama, as he awarded the musician with a Kennedy Center Honor: "You can't understand America without understanding jazz, and you can't understand jazz without understanding Dave Brubeck." Martin's interview with Philip Clark was recorded on March 11, 2020.

Composities voor fluit solo.   – Claude Debussy. Syrinx. Philippa Davies, fluit. – Abbie de Quant, fluit in Danse de la chèvre van Arthur Honneger, gevolgd door fluitist Hansgeorg Schmeiser in Acht Stukken van Paul Hindemith – Robert Dick, fluit in Density van Edgard Varèse en de eerste sequenza van Berio. – Hansgeorg Schmeiser, fluit […]

The definitive, investigative biography of jazz legend Dave Brubeck. In 2003, music journalist Philip Clark was granted unparalleled access to jazz legend Dave Brubeck. Over the course of ten days, he shadowed the Dave Brubeck Quartet during their extended British tour, recording an epic interview with the bandleader. Brubeck opened up as never before, disclosing his unique approach to jazz; the heady days of his 'classic' quartet in the 1950s-60s; hanging out with Duke Ellington, Charlie Parker, Louis Armstrong, and Miles Davis; and the many controversies that had dogged his 66-year-long career. Alongside beloved figures like Ella Fitzgerald and Frank Sinatra, Brubeck's music has achieved name recognition beyond jazz. But finding a convincing fit for Brubeck's legacy, one that reconciles his mass popularity with his advanced musical technique, has proved largely elusive. In Dave Brubeck: A Life in Time, Clark provides us with a thoughtful, thorough, and long-overdue biography of an extraordinary man whose influence continues to inform and inspire musicians today. Structured around Clark's extended interview and intensive new research, this book tells one of the last untold stories of jazz, unearthing the secret history of 'Take Five' and many hitherto unknown aspects of Brubeck's early career - and about his creative relationship with his star saxophonist Paul Desmond. Woven throughout are cameo appearances from a host of unlikely figures from Sting, Ray Manzarek of The Doors, and Keith Emerson, to John Cage, Leonard Bernstein, Harry Partch, and Edgard Varèse. Each chapter explores a different theme or aspect of Brubeck's life and music, illuminating the core of his artistry and genius.

Transatlantic is the newest album from the CSO and Music Director Louis Langrée and features the highly anticipated world premiere recording of George Gershwin’s An American in Paris – both the new critical edition and with special permission from the Gershwin estate – the unabridged critical edition. The album also features the original version of Edgard Varèse’s Amériques and Igor Stravinsky’s Symphony in C. On this episode we learn more from musicologist Mark Clague and Music Director Louis Langrée.

"All things feel," Pythagoas said. Panpsychism, the belief that consciousnes is a property of all things and not limited to the human brain, is back in vogue -- with good reason. The problem of how inert matter could give rise to subjectivity and feeling has proved insoluble under the dominant assumptions of a hard materialism. Recently, the American filmmaker Errol Morris presented his own brand of panpsychism in a long-form essay entitled, "The Pianist and the Lobster," published in the New York Times. The essay opens with an episode from the life of Sviatoslav Richter, namely a time where the famous Russian pianist couldn't perform without a plastic lobster waiting for him in the wings. In Morris's piece, the curious anecdote sounds the first note of what turns out to be a polyphony of thoughts and ideas on consciousness, agency, Nerval's image of the the "Hidden God," and the deep weirdness of music. Phil and JF use Morris's essay to create a polyphony of their own. REFERENCES Errol Morris, "The Pianist and the Lobster" (https://www.nytimes.com/interactive/2019/06/21/opinion/editorials/errol-morris-lobster-sviatoslav-richter.html) Sviatoslav Richter (https://en.wikipedia.org/wiki/Sviatoslav_Richter), Russian pianist Nick Cave., Red Hand Files #53 (https://www.theredhandfiles.com/who-are-your-favourite-guitarists/) Thomas Kuhn, [The Structure of Scientific Revolutions](https://en.wikipedia.org/wiki/TheStructureofScientificRevolutions) Bruno Monsaingeon (dir.), Richter: The Enigma (https://www.youtube.com/watch?v=yfJVpjI3wJM) Bon Jovi, "Livin’ on a Prayer" (https://www.youtube.com/watch?v=lDK9QqIzhwk) Brad Warner, "The Eyes of Dogen" (http://hardcorezen.info/the-eyes-of-dogen/6368) Gilles Deleuze, [Difference and Repetition](https://en.wikipedia.org/wiki/DifferenceandRepetition) Edgard Varèse (https://en.wikipedia.org/wiki/Edgard_Varèse), composer Benjamin Libet (https://en.wikipedia.org/wiki/Benjamin_Libet#Implications_of_Libet%27s_experiments), neuroscientist Robin Hardy (dir), [The Wicker Man](https://en.wikipedia.org/wiki/TheWickerMan) Frans De Waal, Mama’s Last Hug (https://www.theguardian.com/books/2019/may/08/mamas-last-hug-frans-de-waal-review) Gilles Deleuze and Félix Guattari, [A Thousand Plateaus](https://en.wikipedia.org/wiki/AThousandPlateaus) Sartre, [The Transcendence of the Ego](https://en.wikipedia.org/wiki/TheTranscendenceoftheEgo) Tarot de Marseille - XVIII: The Moon (https://files.fireside.fm/file/fireside-uploads/images/e/e38b53e4-e148-4e2d-b301-0b3bb15779ff/W4v2yByR.jpg) Marsilio Ficino, [Three Books on Life](https://en.wikipedia.org/wiki/Devitalibritres)_ Carl Jung, "On the Relation of Analytical Psychology to Poetry" (http://www.studiocleo.com/librarie/jung/essay.html), The Red Book (https://www.npr.org/2009/11/11/120129676/the-red-book-a-window-into-jungs-dreams) Terence McKenna, Food of the Gods (https://www.amazon.com/Food-Gods-Original-Knowledge-Evolution/dp/0553371304)

Betsy Jolas is one of the most significant composers of her generation, and remains a vital force in contemporary European music. Now in her 90s, she continues to create a steady stream of important new works. Jolas's substantial catalogue is known for its subtle lyricism, depth, and refinement; yet it is also informed by a staggering erudition, and highly personal view of the history of music. The daughter of Eugène and Maria Jolas, publishers of the influential literary magazine Transition, she was close to many key modernist figures — painters, writers, musicians— throughout the 20th century: James Joyce (whom she knew as a girl), Edgard Varèse, Henri Dutilleux, Pierre Boulez, Karlheinz Stockhausen, Joan Mitchell and many others, some of whom are mentioned in this interview.We freely discussed the following topics:• Her recent collaboration with Simon Rattle and the Berlin Philharmonic• Her studies with Darius Milhaud and Olivier Messaien• Postwar musical life in Paris• Her relationship with Pierre Boulez and the Domaine Musical• Writing for the voice• Being a female composer in the postwar period and beyond • The technicalities of harmony and harmonic rhythm • The conception of Quatuor II, one of her most celebrated works**SUPPORT THIS PODCASTPatreonDonorboxLINKSYouTube channelOfficial WebsiteTwitterInstagramEdition Impronta, publisher of Samuel Andreyev's scoresBetsy Jolas on SoundcloudView the video of our discussionEPISODE CREDITSSpoken introduction: Maya RasmussenPodcast artwork photograph © 2019 Philippe StirnweissSupport the show (http://www.patreon.com/samuelandreyev)

Donald Macleod explores the life and music of African-American composer William Grant Still (1895-1978). This week Composer of the Week looks at Still’s transformative period of study with mentor Edgard Varèse, the writing of his breakthrough 1st Symphony the ‘Afro-American’, being embraced by the American musical establishment and becoming the first African-American to conduct a major US symphony orchestra, and his uphill struggles to establish himself as a composer of opera. Music featured: Brown Baby Darker America Breath of a Rose La Guiablesse (The She-Devil), ballet Africa, suite for orchestra (1. Land of Peace) Quit Dat Fool’nish Symphony No 1 in A flat, ‘Afro-American’ A Deserted Plantation Kaintuck’, poem for piano and orchestra Blues, Pt 1 Lenox Avenue (The Crap Game; The Flirtation; The Fight; The Law) Symphony No 2 in G minor, ‘Song of a New Race’ (4. Moderately Slow) Out of the Silence (Seven Traceries, No 4) And They Lynched Him on a Tree Old California ‘A Black Pierrot’ (Songs of Separation) Incantation and Dance, for oboe and piano Festive Overture Bells Symphony No 4, ‘Autochthonous’ Whippoorwill's Shoes (Wood Notes) Little Black Slave Child (Troubled Island) Ennanga, for harp, piano and string quartet (1. Moderately fast) Symphony No 3, ‘The Sunday Symphony’ (2. Prayer – very slowly; 3. Relaxation – Gaily) Lyric Quartette Highway One: Act I (extract) Grief (Weeping Angel) Presented by Donald Macleod Produced by Chris Barstow for BBC Wales For full tracklistings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for William Grant Still: https://www.bbc.co.uk/programmes/m0002cbd And you can delve into the A-Z of all the composers we’ve featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

Op 4 december 2018 was het 25 jaar geleden dat Frank Zappa is overleden. Frank Zappa was een veelzijdig componist en musicus die in de tweede helft van de vorige eeuw een enorm oeuvre heeft weten op te bouwen. Zijn muziek verlegde grenzen en heeft velen de oren doen spitsen. Onder hen was radiomaker en muziekproducent Co de Kloet, die hem van nabij heeft leren kennen. In deze luisterproductie komt De Kloets fascinatie voor Zappa naar voren, evenals de manieren waarop hij zijn muzikale bewondering heeft uitgedragen op de radio en in uitvoeringen van zijn muziek. Zo heeft De Kloet diverse uitvoeringen van Zappa's werk geïnitieerd door het Metropole Orkest en het Noord-Nederlands Orkest, waaraan ook Zappa's zoon Dweezil meewerkte. In andere projecten werkten hij en de orkesten samen met Zappa’s bandleden als George Duke, Steve Vai, Terry Bozzio, Napoleon Murphy Brock en Bruce Fowler. Momenteel werk De Kloet aan nieuwe projecten met Steve Vai en Dweezil Zappa. Presentatie: Peter de Ruiter De muziek die je hoort: Nasal retentive calliope music (We're only in it for the money, 1968) Are you hung up? (We're only in it for the money, 1968) Wowie zowie (Freak out!, 1966) Went on the road (200 motels, Los Angeles Philharmonic, 2015) Uncle Remus (Apostrophe ('), 1974) You're probably wondering why I'm here (Freak out! 1966) St. Alfonzo's pancake breakfast (Apostophe ('), 1974) Inca roads (One size fits all, 1975) Sofa No.2 (One size fits all, 1975) Dancing fool (Sheik yerbouti, 1979) I promise not to come in your mouth (Zappa in New York, 1977) Strictly genteel (London Symphony Orchestra Vol. II, 1983) Poème électronique (Edgard Varèse, 1958) Vibration (Tom Dissevelt en Dick Raaijmakers, 1959) Valley girl (Ship arriving too late to save a drowning witch, 1982) They made me eat it (Civilisation phase III, 1994) This is phase III (Civilisation phase III, 1994) Beat the reaper (Civilisation phase III, 1994) Peaches en regalia (Dweezil Zappa, Go with what you know, 2006) Zoot allures (Zoot allures, 1976) Ship ahoy (Shut up 'n play yer guitar, 1981) Florentine pogen (One size fits all, 1975) Truth (zaalopname Dweezil Zappa en het Noord Nederlands Orkest, Tivoli Utrecht, 2017) Watermelon in easter hay (idem) Watermelon in easter hay (Joe's garage, 1979) Outrage in Valdez (The yellow shark, 1993) Times beach III (The yellow shark, 1993) Road ladies (Chunga's revenge, 1970) Po-Jama people (One size fits all, 1975) Five movements for drum set and orchestra (Terry Bozzio en het Metropole Orkest, Groningen 2003) Watermelon in easter hay (Dweezil Zappa en het Noord Nederlands Orkest, Tivoli Utrecht, 2017) Met dank aan de NTR/CoLive.

gak returns to 24 Hours of Radio Art, celebrating the Fluxists who brought us this day but also looking at the continued toll of 2016 with composer Pauline Oliveros (1932-2016 ) and inventor Don Buchla (1937-2016) highlighting a mix of relatively modern avantgarde sounds. A small studio experiment ensues whereby the radio station is turned into its own instrument.1. Dick Higgins: Omnia Gallia (Fluxus Anthology: 30th Anniversary 1962-1992, 1980) Slowscan2. SURVIVE: Turing Test (MFO64 EP, 2014) Monofonus Press3. Sarah Davachi: Hedgerows (August Harp, 2014) Cassauna/Important4. Cindy Lee: 4 Cash Money (Malenkost, 2015) Isolated Now Waves5. Human Harp: Play the Bridge (Musicworks 123, 2015) Musicworks6. Pauline Oliveros: Alien Bog [excerpt] (Music from Mills, 1967) Mills College7. Stephen Vitiello, Pauline Oliveros & Joe McPhee: SV+PO+JM 1 (SV+PO+JM, 2003) Ubuweb8. Modo Koagon: Ebb [for Wilhelm & Ellen] (Ebb, 2015) self-released9. Kaitlyn Aurelia Smith & Suzanne Ciani: A New Day (FRKWAYS Volume 13: Synergy, 2016) RVNG INTL10. Suzanne Ciani: Pop & Pour - Coca Cola Audio Logo (Lixiviation: Ciani/Musica Inc 1969-1985, 2012) Finders Keepers 11. Nicholas Jaar: Beasts of this Earth (Pomegranates, 2015) Other People12. Edgard Varèse & Le Corbusier: Poême électronique (Music of Edgar Varèse, 1958) Philips/Columbia Masterworks13. Paper Eyes: Understanding Fortran [version 2] unreleased14. Valiska: Dawn (Repetitions, 2015) Bow Bottom15. Pan Sonic: 5'31" (Oksastus, 2014) Kvitnu16. Demonstration Synthesis: U-Turn (DS3, 2014) Adhesive Sound17. Yankee Yankee: B (Segments, 2014) Unit Structure Sound Recordings"A nominate scandal degenerates in the march."-- watch out 4 snakes, random sentence generatorradiofreegak@gmail.comtwitter.com/hundredairewww.citr.ca/exploding-head-movies

Hector Berlioz: "Symphonie fantastique" | Edgard Varèse: "Ionisation" | Symphonieorchester des Bayerischen Rundfunks | Leitung: Mariss Jansons

Old Machines for New Music | Symposium Sat, 12/01/2012 Although Sonology in Utrecht was very early when it came to the use of computers for sound synthesis, analogue production techniques still remained an important subject after the first PDP-15 computer had arrived by the end of 1970. Equipment for voltage control was further developed at Sonology’s electronics workshop, and when the institute in Utrecht closed its doors in 1986, it still had three analogue studios. After Sonology had moved to the Royal Conservatory in The Hague, the best pieces of equipment of these three studios were combined and installed in one new analogue studio. At the same time, digital techniques became more and more prominent with the arrival of the personal computer. When in 1993, I was asked to take over Jaap Vink’s position as teacher in analogue studio techniques, it was questioned whether it was necessary at all to have such a studio. I personally was convinced that an analogue studio could make an important contribution to the curriculum, but then still, the question was if analogue techniques were only relevant because they are part of the historical development of electronic music, or if the methods applied in an analogue studio might still be relevant at a time when digital techniques were taking over. After having studied Gottfried Michael Koenig’s methods for the production of his Terminus (1962) and the Funktionen series (1967-1969) and the realization of a series of new pieces with voltage control techniques myself (Depths of Field 1-4 and Geoglyphs), my answer is yes! Kees Tazelaar (July 27, 1962) was taught at the Institute of Sonology from 1981 to 1983 (Utrecht) and from 1987 to 1989 (The Hague). He subsequently studied composition with Jan Boerman at the Royal Conservatory in The Hague, graduating in 1993. Since then Tazelaar has been teaching at the Institute of Sonology. He is head of Sonology since June 2006. In addition to his own autonomous works, he has contributed to music theatre projects by Dick Raaijmakers (Die glückliche Hand geöffnet, Scheuer im Haag) and Theatergroep Hollandia (Perzen, Varkensstal). Tazelaar has also been intensively engaged in the restoration and reconstruction of major electronic works from the past. In his specially equipped studio, he has created new versions of compositions by Gottfried Michael Koenig , Jan Boerman, Edgard Varèse, Iannis Xenakis, György Ligeti, Luctor Ponse and Dick Raaijmakers. During the winter semester of 2005/2006, Kees Tazelaar filled the Edgard Varèse Guest Professorship of the DAAD at the Technische Universität Berlin.

Gohan mix #16 Special DCDL XXXII — Kilima Njaro by marz ego6 Sun Ra - New Day Luca Bacchetti - Rolling Brooklyn (Lee Von Dowski's Mix) Charles Amirkhanian - Mushrooms (for John Cage) (fragments) Edgard Varèse - Density 21.5 (performed by Pierre-Yves Artaud) (fragments) Gavin Herlihy - Underneath The Wind Machine Bird Show - Mbira, Harp And Voice Blagger - Strange Behaviour (Dj Koze aka

This brief improvisation for mandolin made me think of the composer Edgard Varèse. He was one of my early influences; I was a big fan of his music when I was in undergraduate school at Hamilton College. Many wintery evenings were spent listening to scratchy records of his music in the drafty old Listening Library. The sounds are all made directly on the mandolin (with lots of reverb added in the mix!). I also added some scratchy record noise to the final mix using Nomad Factory’s RetroVox. I imagine this as a long lost recording from Varèse’s Blue(grass) Period. :-) I’m in the photo playing a Summit F-style mandolin. The lighting effect is created by using a slow camera exposure with me sitting VERY still while quickly moving a multi-colored light “box” in my right hand. Photo by my talented son, Chase. -William BradburyPlease feel free to add a comment on the Feedback/Contact page.

"In 1913 Futurist Luigi Russolo developed several noise machines, which he named ‘intonarumori’. In his manifesto, The Art of Noise, Russolo argued that musical instruments could no longer satisfy man's thirst for sounds. Almost 100 years later, people are still exploring the possibilities of sound. This is what I tried to capture in this mix - testing the limits of sound, from shrieking highs to almost imperceptible lows, finding new ways of interpreting and portraying life through the medium of sound. Despite including over 100 artists, the mix by no means represents a completist viewpoint; so many perhaps important artists in the development of 'noise' were left out. It was not my intention to do a 'who's who' of noise music, but rather to show how the exploration of sound has developed over time and how fascinating these explorations are. I did at times take into account the historical significance of the piece/artist when choosing tracks, although I was steered mainly by what was sonically interesting to me. Well that's it - the mix should speak for itself. If you are interested in digging deeper please follow the links provided. Listen at maximum volume and enjoy." Marolo, January 2007 Tracklisting: Luigi Russolo – Risveglio Di Una Cita (1913) Marcel Duchamp – La Mariée Mise À Nu Par Ses Célibataires, Même John Cage – Imaginary Landscape 1 (1939) John Cage – Imaginary Landscape (1942) Halim El-Dabh – Wire Recorder Piece (1944) Pierre Schaeffer – Etude Aux Chemins De Fer (1948) Hugh Le Caine – Dripsody (1949) Edgar Varese – Interpolation, 3rd Interpolation (1954) John Cage – Radio Music (1956) 15 minutes Iannis Xenakis – Diamorphoses (1957) György Ligeti – Continuum, Glissandi (1957), Artikulation (1958) György Ligeti – Pièce Électronique #3 (1958) Edgard Varèse – Poème Electronique (1960) Stockhausen –  Kontakte (1960) Tod Dockstader – Four Elementary Tapes ¾ (1963) Stockhausen – Telemusik (1966) Beatriz Ferreyra – Demeures Aquatiques (1967) AMM – Ailantus Glandulosa (1966) Wozard Of Iz – Blue Poppy (1968) Pierre Henry – Prologue (1968) Jean-Claude Risset – Flight & Countdown (1968) Delia Derbyshire / John Peel – Voice Treatment (1969) La Monte Young – The Volga Delta (1969) 30 minutes Morton Subotnick – Wild Bull Part 2 (1968) Jean-Claude Risset – Mutations (1969) François Bayle + Robert Wyatt + Kevin Ayers – It (1970) Iannis Xenakis – Hibiki-Hana-Ma (1970) Luc Ferrari – Presque Rien  (1971) Yoko Ono – Toilet Piece (1971) Laurie Spiegel – Sediment (1972) La Monte Young – From Poem For Chairs, Tables, Benches, Two Sounds Faust – 11 (1973) Throbbing Gristle – Whorls of Sound (1975) Alvin Lucier – The Duke Of New York (1976) BBC Radiophonic Workshop – Central Control Room In Exillon City, Styre's Scouting Machine, Atomic Reactor Runs Wild (1978) Chrome – Inacontact / I am the Jaw (1979) Whitehouse – Politics (1980) Maurizio Bianchi – Industrial (1980) 45 minutes Merzbow – Music Concret/Tape Dada (1980) NON – Pagan Muzak Loops (1980) Frieder Butzmann – Tales of Death (1981) Esplendor Geometrico – PIE (1981) MB – Treblinka (1981) Throbbing Gristle – Medicine (1982) Borsig – Zu Den Anderen Gerollt Werden/Helmut (1982) E.g Oblique Graph – Black Cloth (1982) Esplendor Geometrico – Disco Rojo (1982) Consumer Electronics – Keloid (1982) SPK – War of Islam (1983) Alison Knowles – Assemblage (1984) Diamanda Galás – Panoptikon (1984) Controlled Bleeding – Knees And Bones (1985) Zoviet France – Signal (1986) Butthole Surfers – Hay (1987) 1 hour Merzbow – Chopin is Dead (1987) Hanatarash – Frogirl (1988) Esplendor Geometrico – Mekano-Turbo (1988) John Watermann – Still Warm (1989) Voice Crack & Borbotomagus – Untitled (1991) Jackofficers – Flush (1991) Iannis Xenakis – S.709 (1992) Scanner – Untitled (1993) Melvins - Magic Pig Detective (1994) Merzbow - Ananga-Ranga (1994) Fennesz – 3 (1995) Vromb – Facteur Humaine iii (1996) Mike Patton - I Killed Him Like a Dog, Screams Of The Asteroid, Porno Holocaust, Catheter, Raped On A Bed Of Sand (1996) 1 hour 15 minutes Restgeraeusch – 1H / 1Min (1996) Oval – Shop in Store (1996) Lucien Monbuttou – Kpiele, I Find The Enemy (1997) Jonathan Azande – Opaque Misery (1997) Francis Dhomont – Scherzo (1997) Aube – Vent Finalzinho (1997) Electricity – Dunia Wanja Wa Fujo, Indlela Yababi (1997) National Bird – Wakar Uwa Mugu (1997) Godfrey J Kola – Somalia! (1997) Mbuti Singers - Massacre Rite (1997) Jim O’Rourke – There As (1997) Toys’r’us – Untitled (1997) Fraughman – Of The Elements (1998) Boredoms – Super Shine (1998) Merzbow – Munchen (1998) 1 hour 30 minutes Merzbow – Soft Water Rhinoceros (1998) Scalpel – 2.08 (1998) Dumb Type – Zero Radius (1998) ATR – Brixton Academy (1999) Merzbow & Genesis P-orridge – Flowering Pain (1999) Voice Crack – Green Ellipse/Red Square (1999) Shizuo – Untitled (1999) Maldoror – Baby Powder on Peach Fuzz (1999) Zipper Spy – Untitled (2000) Dolores Dewberry – Paragraph (2000) Diane Nelson – Dissected Insect (2000) Winterkälte – Toxic Hotspot (2000) Signal – Centrum (2000) Massimo - Hey Babe, Let Me See Your USB And I'll Show You My Firewire (2001) 1 hour 45 minutes DJ Smallcock – YinYue (2001) Ryoji Ikeda – 00010 (2001) Cyclo – C4 C9 (2001) Tripod Sardine – TV (2000) Speedranch – Halfway up the Stairway of Mucus (2001) Fennesz / Jim O'Rourke / Peter Rehberg – We Will Diffuse You (2002) Huren – Satem (2002) Vromb – Subréalité (2002) Coh – Hurt Later / Terra Beyond / In Spaces Between (2002) Massimo – 6-1-8 (2002) Merzbow – Tadpole / Forgotten Land (2002) Merzbow – Black Gun Red (Kim Cascone mix) (2003) Wlliam Basinski – Disintegration Loops DLP4 (2003) KK Null – Andromeda 2 (2003) Space Machine – 4 (2004) Chessmachine – 16 Move (2004) 2 hours Zeena Parkins & Ikue Mori – Miura (2004) Otomo Yoshihide - Where There's Smoke, There's Weapons (2004) The Lappetites – Funeral (2005) Merzbow – Merzbuta track 4 (2005) Zeena Parkins – 16 Feet + Cello (2006) Drifting Stranger – Oh Daddy Love Me Good (2007)