Podcasts about musique concr

Die Schweizer Electronica-Szene mag es experimentell und eklektisch! Dieses Mixtape präsentiert die neuesten und spannendsten Schweizer Electronic-Releases – von polyrhythmisch bis dekonstruiert, von Musique Concrète bis Ambient. Tracklist Sounds! Mixtape Luzius Schuler - Sega Music Belia Winnewisser - When I Get Home Luzius Schuler - …It's a Place Gūsū - Rural FlexFab - I Had a Call Amorph - Deep City (Thom Nagy Remix) Don Kashew - Pair Of Bellows OY - Nkrabea Destiny FlexFab Feat. Sasha Wrist - Luz AVEM - Yeux Fermés STACY.O - The One She Loves Arthur Hnatek - Delirium (Polygonia Remix) Secondo - Nowhere Man

Episode 153 Chapter 14, Musique Concrète in France. 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: MUSIQUE CONCRÈTE IN FRANCE Time Track Time Start Introduction –Thom Holmes 01:30 00:00 1.     Pierre Schaeffer, “Étude Aux Chemins De Fer ” (1948). Early musique concrète using turntables not magnetic tape. GRM studio (Paris). 02:53 01:36 2.     Pierre Schaeffer, “Étude Violette” (1948). Early musique concrète using turntables not magnetic tape. GRM studio (Paris). 03:25 04:28 3.     Pierre Schaeffer and Pierre Henry, “Prosopopée I” from Symphonie pour un homme seul (1949– 50). Early use of magnetic tape for musique concrète GRM studio (Paris). 02:57 07:48 4.     Iannis Xenakis, “Diamorphoses” (1957). Magnetic tape composition. GRM studio (Paris). 06:57 10:42 5.     Luc Ferrari, “Visage V” (1958-59). Magnetic tape composition. GRM studio (Paris). 10:37 17:38 6.     Mireille Kyrou, “Etude I” (1960). Magnetic tape composition. GRM studio (Paris). 05:09 28:12 7.     Philippe Carson, “Turmac” (1961). Magnetic tape composition. GRM studio (Paris). 09:43 33:20 8.     Bernard Parmegiani, “Danse” (1961). Magnetic tape composition. GRM studio (Paris). 04:08 43:04 9.     Henri Pousseur, “Trois Visages De Liège” (1961). Magnetic tape composition. Composed at the Centre de recherches et de formation musicales de Wallonie (CRFMW) (Belgium). 20:40 47:22 10.   Luc Ferrari, “Hétérozygote” (1963-64). Magnetic tape composition. GRM studio (Paris). 26:20 01:08:00 11.   François Bayle, “Vapeur” (1964). Magnetic tape composition. GRM studio (Paris). 04:44 01:34:16 12.   Beatriz Ferreyra, “Demeures aquatiques” (1967). Magnetic tape composition. GRM studio (Paris). 07:20 01:39:00                   Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.

Episode 145 Chapter 06, Analog and Digital Synthesis Basics, Part 2. Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let's get started with the listening guide to Chapter 06, Analog and Digital Synthesis Basics, Part 2 from my book Electronic and Experimental music.   Playlist: Analog Synthesis and Sound Modification   Time Track Time Start Introduction –Thom Holmes 01:32 00:00 1 Richard Maxfield, “Prelude, Pastoral Symphony” (1960). Tape piece combining electronic sounds with the modulated sounds of nature. 04:02 01:36 2 Mireille Kyrou, “Étude I” (1960) from Musique Concrète (1964 Philips). Tape piece of processed acoustic sounds. Realized by the "Groupe de recherches musicales du Service de la recherche de la radiodiffusion-télévision française.” Kyrou is the rare example of a woman composer using the French studio.  5:09 05:09 05:36 3 Hugh Le Caine, “Safari: Eine kleine Klangfarbenmelodie” (1964). Used extensive additive synthesis and texturing by means of the Sonde, an instrument equipped with 200 closely tuned sine tones. 03:09 10:44 4 David Behrman, “Wave Train” (1966). Used analog circuits, internal feedback, audio processing in real time. Recording is from a flexi-disc released by Source: Music of the Avant Garde in 1968. 15:34 13:52 5 Steve Reich, “Come Out” (1966). Tape piece experiment with tape loops and phasing of vocal passages. 12:53 29:22 6 Gordon Mumma, “Horn” (1967). Performance released on flexi-disc for Aspen Magazine No. 1 (1967). Performed at the Once Festival in Ann Arbor, Michigan by Mumma, Robert Ashley, and George Cacioppo. Acoustic sounds modified electronically in real time. 06:22 42:14 7 Pril Smiley, “Eclipse” (1967). “Eclipse” was realized at the Columbia-Princeton Electronic Music Center. Smiley had this to say about the work, “Eighty-five percent of the sounds are electronic in origin; the non-electronic sounds are mainly pre-recorded percussion sounds–but subsequently electronically modified so that they are not always recognizable.” 7:56 07:56 48:46 8 Charlemagne Palestine, “Seven Organism Study” (1968). Used feedback and analog synthesis for this drone work. 07:53 56:36 9 Hugh Davies, “Salad” (1977). From the National Sound Archive of The British Library. The file was produced in Davies' home studio and dates from February 19, 1977. Davies performs on four different egg slicers, two tomato slicers and one cheese slicer. 13:55 13:55 01:04:24 10 David Lee Myers, “Periodicity, track A1” (1988). Analog feedback circuits controlled in real time. 02:36 01:18:16   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.

Música creada por el compositor francés Pierre Schaeffer en 1948, en París, cuando trabaja en la Radio Televisión Francesa. Su atención está en los sonidos naturales—el paso de un tren, el trino de un pájaro—que graba en cinta magnética y transfiere de modo “concreto”._____Has escuchadoCinq études de bruits. Étude aux chemins de fer (1948) / Pierre Schaeffer. Ina Éditions (2010)Cinq études de bruits. Étude noire (1948) / Pierre Schaeffer. Ina Éditions (2010)Crayonnés ferroviaires (1992) / Michel Chion. Ina GRM (1998)Étude aux sons animés (1958) / Pierre Schaeffer. Ina Éditions (2010)Hors Phase (1977) / Bernard Parmegiani. Ina Éditions (2008)_____ Selección bibliográficaALLEN, Richard, “The Sound of ‘The Birds'”. October, vol. 146 (2013), pp. 97-120*BERTRAND, Loïc, Pierre Schaeffer & Pierre Henry: Symphonie pour un homme seul. Contrechamps Éditions, 2021CHION, Michel, El arte de los sonidos fijados. Traducido por Carmen Pardo. Centro de Creación Experimental de la Universidad de Castilla-La Mancha, 2001*—, Pierre Henry. Fayard, 2003DALLET, Sylvie y Anne Veitl, Du sonore au musical: cinquante années de recherches concrètes (1948-1998). L'Harmattan, 2001DELHAYE, Cyrille, “Orphée 53 de Pierre Schaeffer et Pierre Henry. Aux origines du scandale de Donaueschingen”. Revue de Musicologie, vol. 98, n.º 1 (2012), pp. 171-191*GAYOU, Évelyne, Le GRM: Groupe de Recherches Musicale: cinquante ans d'histoire. Fayard, 2007*GIRAULT, Hervé, “Les Affichages de Pierre Henry - ‘Apparitions Concertées': Analyse d'un parcours”. Musurgia, vol. 17, n.º 3 (2010), pp. 39-58*HENRY, Pierre, Le son, la nuit. La Rue musicale, 2017*—, L'œuvre: catalogue illustré, opus et musiques d'application 1945-2017. Philharmonie de Paris, 2021JUDD, Frederick Charles, Electronic music and musique concrète. Foruli Classics, 2013MANNING, Peter, “The Influence of Recording Technologies on the Early Development of Electroacoustic Music”. Leonardo Music Journal, vol. 13 (2003), pp. 5-10*PALOMBINI, Carlos, “Pierre Schaeffer, 1953: Towards an Experimental Music”. Music & Letters, vol. 74, n.º 4 (1993), pp. 542-557*POLSON, Simon, “(Demolishing) Concrete Music”. Leonardo Music Journal, vol. 23 (2013), pp. 55-57*SCHAEFFER, Pierre, A la recherche d'une musique concrète. Seuil, 1952—, Tratado de los objetos musicales. Traducido por Araceli Cabezón de Diego. Alianza, 1988*—, De la musique concrète à la musique même. Mémoire du livre, 2002STEINTRAGER, James A. y Rey Chow (eds.), Sound objects. Duke University Press, 2019*WEDGEWOOD, Richard B., “Dziga Vertov's ‘Enthusiasm': Musique Concrète in 1930”. College Music Symposium, vol. 23, n.º 2 (1983), pp. 113-121* *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

durée : 00:05:37 - Les Nuits de France Culture - par : Albane Penaranda, Mathias Le Gargasson, Antoine Dhulster - Connaissez-vous la musique concrète ? Et la musique électroacoustique ? Saviez-vous qu'une bande magnétique peut être utilisée comme un instrument de musique ? Le compositeur et théoricien Pierre Schaeffer nous explique les particularités de cet art en 1952 dans le journal de la Radio Nord Est. - réalisation : Thomas Jost - invités : Pierre Schaeffer Compositeur, ingénieur, chercheur, théoricien et écrivain français.

durée : 00:30:43 - Les Nuits de France Culture - par : Albane Penaranda - En 1998, "Les chemins de la musique" de France Culture consacrent une série de cinq numéros "La musique concrète a cinquante ans". Dans ce dernier épisode, Christian Rosset interroge les compositeurs François Bayle, Luc Ferrari et Daniel Teruggi sur les "attitudes concrètes aujourd'hui". - invités : François Bayle Compositeur, créateur et ancien directeur du Groupe de recherche musicale (GRM); Luc Ferrari Compositeur; Daniel Teruggi

durée : 00:30:45 - Les Nuits de France Culture - par : Albane Penaranda - En 1998, "Les chemins de la musique" de France Culture consacrent une série de cinq numéros : "La musique concrète a cinquante ans". Dans ce quatrième volet, Christian Rosset se penche sur la question de la diffusion et sur la manière de repenser le concert, avec les éclairages de compositeurs. - invités : François Bayle Compositeur, créateur et ancien directeur du Groupe de recherche musicale (GRM); Luc Ferrari Compositeur; Daniel Teruggi

durée : 00:30:20 - Les Nuits de France Culture - par : Albane Penaranda - En 1998, Christian Rosset propose pour "Les chemins de la musique" une série de cinq numéros "La musique concrète a cinquante ans". Dans ce troisième volet sont abordées les questions d'esthétiques, d'écoles et de courants, avec les éclairages des compositeurs François Bayle et Luc Ferrari. - invités : François Bayle Compositeur, créateur et ancien directeur du Groupe de recherche musicale (GRM); Luc Ferrari Compositeur

durée : 00:30:43 - Les Nuits de France Culture - par : Albane Penaranda - En 1998, "Les chemins de la musique" proposent une série de cinq émissions intitulée "La musique concrète a cinquante ans". Dans ce second volet, Christian Rosset s'intéresse à la question de la technologie, en compagnie des compositeurs François Bayle, Luc Ferrari et Daniel Teruggi. - invités : François Bayle Compositeur, créateur et ancien directeur du Groupe de recherche musicale (GRM); Luc Ferrari Compositeur; Daniel Teruggi

durée : 00:30:57 - Les Nuits de France Culture - par : Albane Penaranda - En 1998, "Les chemins de la musique" consacrent une série de cinq numéros à l'occasion des cinquante ans de la musique concrète. Dans ce premier volet : retour sur la naissance de cette musique, la figure de Pierre Schaeffer, son esprit pionnier et son héritage, en compagnie de compositeurs. - invités : François Bayle Compositeur, créateur et ancien directeur du Groupe de recherche musicale (GRM); Luc Ferrari Compositeur; Daniel Teruggi

durée : 00:45:52 - Les Nuits de France Culture - par : Albane Penaranda - L'émission "Passeport pour l'inconnu" en 1959 aborde le territoire de la musique concrète. Son inventeur, le compositeur Pierre Schaeffer, raconte l'aventure de cette musique nouvelle, entouré de ses machines dans les studios de la RTF qui abrite le Groupe de Recherches Musicales. Épisode 2/2. - invités : Pierre Schaeffer Compositeur, ingénieur, chercheur, théoricien et écrivain français.

durée : 00:30:43 - Les Nuits de France Culture - par : Albane Penaranda - En 1998, "Les chemins de la musique" proposent une série de 5 émissions intitulée "La musique concrète a cinquante ans". Épisode 2 : "Supports et mémoire, la question de la technologie" avec François Bayle et Luc Ferrari, et des extraits d'œuvres de Cage, Schaeffer, Ligeti, etc. - invités : François Bayle Compositeur, créateur et ancien directeur du Groupe de recherche musicale (GRM); Luc Ferrari Compositeur; Daniel Teruggi

durée : 00:44:24 - Les Nuits de France Culture - par : Albane Penaranda - "Passeport pour l'inconnu" est une série en deux épisodes de 1959 qui raconte "La musique concrète". C'est Pierre Schaeffer, son inventeur, qui s'y colle, au micro de Claire Jordan. Il nous append que la musique concrète se compose avec des sons réels, aussi bien un violon qu'une voix… - invités : Pierre Schaeffer Compositeur, ingénieur, chercheur, théoricien et écrivain français.; Luc Ferrari Compositeur

durée : 00:46:46 - Les Nuits de France Culture - par : Albane Penaranda - Les compositeurs Messiaen, Boulez, Henry et Hodeir, le créateur du Groupe de Recherches de Musique Concrète, Pierre Schaeffer, mais aussi l'écrivain de science-fiction René Barjavel sont les invités de cette série en deux épisodes, "La musique concrète et le 20e siècle", enregistrée en 1952. - invités : Pierre Schaeffer Compositeur, ingénieur, chercheur, théoricien et écrivain français.; René Barjavel Romancier; Pierre Boulez Compositeur, chef d'orchestre et pédagogue français (Montbrison, 1925 - Baden Baden 2016); Pierre Henry Compositeur français, pionnier de la musique électroacoustique (Paris, 1927 - 2017); André Hodeir Violoniste, compositeur, arrangeur, musicologue, écrivain (1921, Paris - 2011, Paris); Olivier Messiaen Compositeur français (Avignon 1908 – Clichy 1992)

durée : 00:05:37 - Les Nuits de France Culture - par : Albane Penaranda - Journal parlé - Pierre Schaeffer à propos de la musique concrète (Date d'enregistrement : 04/06/1952 Radio Nord Est)

durée : 00:47:30 - Les Nuits de France Culture - par : Albane Penaranda - La musique concrète et le 20e siècle, 1/2 (1ère diffusion : 03/07/1952 Paris Inter)

Muziek van Gavin Brivik bij de film “How to blow up a pipeline” - een thriller over klimaatactivisme, geregisseerd door Daniel Goldhaber. De film toont hoe boosheid, angst, verdriet, onmacht en wanhoop tot deze drastische actie hebben geleid. De film won de Alexander Mouret Award, een prijs ‘voor films die risico's durven te nemen'. De muziek bij de film How to blow up a pipeline is gemaakt door Gavin Brivik, die hedendaagse klassieke muziek en elektronische muziekcompositie studeerde aan de Universiteit van Missouri in Kansas, en hij combineerde die kennis met zijn wortels als gitarist in de rock- en folk-scene. In New York leerde hij het vak van filmcomponist. Toen hij aan de muziek voor deze film ging werken was het eerste wat hij deed opnamen maken van geluiden op de filmset. Inclusief het bonken op olievaten in de woestijn, met een trommelstok waar een stuiterbal op was vastgemaakt. Daarmee wreef hij langs metalen buizen, om een dreigend, galmend geluidseffect te bereiken. Bizarre geluiden die Brivik een plek gaf in zijn score. Inspiratie daarvoor vond Brivik in de muziek van de Duitse synthesizer-groep Tangerine Dream, en in de muziek van elektronica-pionier Pierre Schaeffer, bekend van de zogeheten Musique Concrète.

A mix of electronic & recorded sounds. Musique Concrète.

Episode 96 Crosscurrents of Musique Concrète Playlist Pierre Henry, “Final Du Concerto Des Ambiguités (Final Of The Ambiguities Concerto)” (1950) from 1er Panorama De Musique Concrète (1956 Ducretet Thomson). Composition, tape editing, and audio production by Pierre Henry. Work realized in the studios of Radiodiffusion-Télévision Française (RTF). Published with funds supplied by Conseil international de la musique (UNESCO). 3:15 Pierre Henry, “Expressionisme (1951) Musique Sans Titre – 5e et 6e Mouvements (Untitled Music – 5th and 6th Movements)” from 1er Panorama De Musique Concrète (1956 Ducretet Thomson). Early piece of musique concrete during a time of transition at the RTF, when the composers were moving from using turntables and disc lathes to magnetic tape as a composition medium. This work has evidence of both. Composition, sound editing, and audio production by Pierre Henry. Work realized in the studios of Radiodiffusion-Télévision Française (RTF). Published with funds supplied by Conseil international de la musique (UNESCO). 2:59 Philippe Arthuys, “Boîte À Musique (Musical Box)” from 1er Panorama De Musique Concrète (1956 Ducretet Thomson). Composition, sound editing, and audio production by Philippe Arthuys. Work realized in the studios of Radiodiffusion-Télévision Française (RTF). Published with funds supplied by Conseil international de la musique (UNESCO). 2:53 Mireille Kyrou, “Étude I” (1960) from Musique Concrète (1964 Philips). Composition, sound editing, and audio production by Mireille Kyrou. Realized by the "Groupe de recherches musicales du Service de la recherche de la radiodiffusion-télévision française", directed by Pierre Schaeffer. Kyrou is the rare example of a woman composer using the French studio. This is her only work released on record. However, according to Hugh Davies' International Electronic Music Catalog, I find several other compositions dating from this period that, hopefully, will one day be released by the GRM. There were three additional works from 1960-61, all done for film, totaling in time to about 31 minutes. 5:09 Henri Pousseur, “Trois Visages De Liège” (1961) from Early Experimental Electronic Music 1954-1961 (2018 Fantôme Phonographique). This is a reissued version of Pousseur's work from 1961 and originally released on a Columbia disc in 1967. But this version is several minutes longer than that release. This album also features a bonus track of sound elements used for the work before being fully composed. Composition, tape editing, and audio production by Henri Pousseur. Pousseur was Belgian and worked in the Studio de Musique Electronique de Bruxelles in a musique concrète style. 20:32 Bernard Parmegiani, “Danse” (1961) from Musique Concrète (1969 Candide). Composition, tape editing, and audio production by Bernard Parmegiani. Compositions realized in the studios of Groupe de Recherches Musicales, O.R.T.F., Paris, France. Parmegiani was one of the GRM's most prolific composers, working on individual works but also numerous pieces for stage, dance, and, most importantly film and commercials, producing early music videos, soundtracks, and commercials for companies like Renault. His music was inventive and imaginative, and he became a chief craftsman of electronic music for decades. Until 1992, he produced most of his music at GRM, but was frequently on commission to work at institutions in other countries. In 1992, Parmegiani left the GRM and set up his own studio in Saint-Rémy-de-Provence. 4:08 Luc Ferrari, “Tautologos I” (1961) from Musique Expérimentale 2 (1972 BAM) Recordings realized in the studios of Gravesano (directed by Hermann Scherchen). Reissue of 1964 release. Composition, tape editing, and audio production by Luc Ferrari. 4:19 Philippe Carson, “Turmac” (1961) from Musique Expérimentale 2 (1972 BAM) Recordings made by Le Groupe de Recherches Musicales du Service de la Recherche de l'O.R.T.F. Reissue of 1964 release. Composition, tape editing, and audio production by Philippe Carson. 9:43 Luc Ferrari, “Tête Et Queue Du Dragon” (Second Version) (1962) from Musique Concrète (1969 Candide). Composition, tape editing, and audio production by Luc Ferrari. Compositions realized in the studios of Groupe de Recherches Musicales, O.R.T.F., Paris, France. 9:07 François-Bernard Mâche, “Terre De Feu (Second Version)” (1963) from Musique Concrète (1969 Candide). Composition, tape editing, and audio production by François-Bernard Mâche. Compositions realized in the studios of Groupe de Recherches Musicales, O.R.T.F., Paris, France. 6:52 François Bayle, “Vapeur” (1964) from Musique Expérimentale 2 (1972 BAM) Recordings made by Le Groupe de Recherches Musicales du Service de la Recherche de l'O.R.T.F. Reissue of 1964 release. Composition, tape editing, and audio production by François Bayle. 4:44 Bernard Parmegiani, “Récession” (1966) from Bernard Parmegiani – Mémoire Magnétique, Vol 1. (Compilation De Bandes Magnétiques Inédites (1966-1990) (2018 Transversales Disques). Composition, tape editing, and audio production by Bernard Parmegiani. First release of this track, created for theatre. 2:25 Bernard Parmegiani, “La Ville En Haut De La Colline II” (1968) from Bernard Parmegiani – Mémoire Magnétique, Vol 1. (Compilation De Bandes Magnétiques Inédites (1966-1990) (2018 Transversales Disques). Composition, tape editing, and audio production by Bernard Parmegiani. First release of this track, created for film. 1:30 Bernard Parmegiani, “Outremer” (1968) and “Trois Canons En Hommage À Galilée”(1969) from Arlette Sibon-Simonovitch Avec Le Concours De Sylvio Gualda Œuvres De: Parmegiani, Mestres-Quadreny – Espaces Sonores N°1 (1975 La Voix De Son Maître). Ondes Martenot, Arlette Sibon-Simonovitch. Composition, tape editing, and audio production by Bernard Parmegiani. Work for Ondes Martenot and four tracks of magnetic tape. 21:02 Bernard Parmegiani, “Je Tu Elles” (1969) from Bernard Parmegiani – Mémoire Magnétique, Vol 1. (Compilation De Bandes Magnétiques Inédites (1966-1990) (2018 Transversales Disques). Composition, tape editing, and audio production by Bernard Parmegiani. First release of this track, created for film. 2:59 Roger Roger, “Le Type Beurré” from Musique Idiote (1970 Neuilly). Another experiment with the Moog Synthesizer by composer Roger Roger, maker of broadcast library music. 1:38 Roger Roger, “La Nana Siphonée” from Musique Idiote (1970 Neuilly). Enter the Moog Synthesizer. Here are some early works for Moog by composer Roger Roger, maker of broadcast library music. 1:39 Opening background music: Henri Pousseur, “Éléments De Trois Visages De Liège” from Early Experimental Electronic Music 1954-1961 (2018 Fantôme Phonographique). Composition, tape editing, and audio production by Henry Pousseur. 3:10   Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation. For additional notes, please see my blog, Noise and Notations.

durée : 00:21:59 - Les Nuits de France Culture - En 1957, le compositeur Olivier Messiaen accordait une série de douze entretiens à Antoine Goléa sur la Chaîne Nationale. Dernier volet, diffusé la première fois le 16 août 1957 sur la Chaîne Nationale. En 1957, le compositeur Olivier Messiaen accordait une série de douze entretiens à Antoine Goléa sur la Chaîne Nationale. Dans le dernier des entretiens de cette série, le compositeur était invité à dire quelles réflexions lui inspiraient les musiques concrètes et électroniques vers lesquelles s'étaient orientés plusieurs de ses élèves du Conservatoire. Pesant avec soin le pour et le contre Olivier Messiaen faisait part de sa crainte de voir la musique concrète faire "table rase" de toute l'histoire de la musique qui la précédait et de la voir triompher par la destruction de toutes les autres musiques : La Musique concrète me remplit à la fois d'admiration et de tristesse. Elle me remplit d'admiration par les sonorités inouïes, les tempi inouïs, les mélanges inouïs qu'elle suscite. [...] Elle me remplit de tristesse en ce sens que, si la musique sérielle, malgré ses audaces continuait ce que nous appelons musique depuis le XIVème siècle environ, la musique concrète, si elle persévère, si elle réussit, est appelée à enterrer définitivement l'autre musique. Production : Antoine Goléa  Entretiens avec Olivier Messiaen, 12ème et dernière partie  1ère diffusion : 16/08/1957 Chaîne Nationale Indexation web : Sandrine England, Documentation sonore de Radio France Archive Ina-Radio France

埃及是人类古代文明的发祥地之一，在长达近 3000 年的法老统治时期内衍生出了丰富多样的音乐文化。自上古以来，圣经中记载的古代希伯来人演奏的乐器就源自埃及，而其对古希腊和阿拉伯音乐的影响也非比寻常。本期 B 和框框将带着大家听一听来自尼罗河畔、金字塔旁的神秘音乐。 本期节目是「四大文明古国系列」的第 2 期。在这个系列中，我们将会带领大家了解这些古老文明的节奏与韵律，聆听不同文化背景下的乐器之声，探寻别样的音乐魅力。 - 聊天的人 - B，「主唱死了」主播 框框，一个普通人 - 本期曲单 - Opening - Jerry Goldsmith - Imhotep El Tanbura - Sar a Lay Michael Levy - Incantations of Heka (feat. Jan Abadier) Les Musiciens du Nil - Al Nahla Al 'Ali Ali Hassan Kuban - Hanwil Tanza El-Rais Abed El-Masri - Elbaldi Baldi Hossam Ramzy - Bahlam Beek Ahmed Abdel Fattah - Tanoura Dance Halim El-Dabh - Michael and the Dragon Ending - The Bangles - Walk Like An Egyptian - 参考资料 - 古典竖琴里拉琴大师Michael Levy的个人官网 埃及传统武术 苏菲旋转舞 Halim El Dabh An Alternative Genealogy of Musique Concrète - 支持我们的赞助商是对我们最好的支持 - JustPod 2022 广告招商现已全面展开，欢迎订阅微信公众号 JustPod，回复“广告”，了解详情。商务合作请洽询 ad@justpod.fm - 制作团队 - 剪辑混音 邵旻 logo设计 框框 节目运营 小米粒 - 本节目由 JustPod 出品 ©2022上海斛律网络科技有限公司 - - 互动方式 - 商务合作：ad@justpod.fm 微博：@JustPod @播客一下 微信公众号：JustPod / 播客一下 小红书：JustPod气氛组

Chapters00:30 - Introduction02:01 - Sound Artist And Soundtrack Composer03:38 - Working With Brands04:58 - Creating A Sensory Journey08:00 - Recording Skin09:10 - Getting Started In Sound Design11:58 - Studying In Shanghai13:03 - Learning To Listen16:22 - Musique Concrète17:25 - Production Techniques19:11 - Working With Zoom25:11 - Other Hardware and Software27:08 - Creating A Real-Time Soundtrack30:14 - The Lavazza Project35:12 - Working In Immersive Audio35:45 - Favourite Plug-ins37:57 - Future ProjectsChiara Luzzana BiogChiara Luzzana studied classical music as a child and later took a course in audio engineering specializing in musical cognition at Berklee College of Music. She started her career in cinema and advertising but in 2013 won an artistic residency in Shanghai.During this time she started a personal sound design project, gathering more than 2400 samples from Swatch watches and building a soundtrack, which would later become the official music of Swatch stores around the world and also of the Venice Biennale, a prestigious international cultural exhibition hosted in Venice, Italy.Following this success, Chiara has been invited to create soundtracks for a number of high profile brands.https://www.chiaraluzzana.com/Caro C BiogCaro C is an artist, engineer and teacher specialising in electronic music. Her self-produced fourth album "Electric Mountain" is out now. Described as a "one-woman electronic avalanche" (BBC), Caro started making music thanks to being laid up whilst living in a double decker bus and listening to the likes of Warp Records in the late 1990's. This "sonic enchantress" (BBC Radio 3) has now played in most of the cultural hotspots of her current hometown of Manchester, UK. Caro is also the instigator and project manager of electronic music charity Delia Derbyshire Day.URL: http://carocsound.com/Twitter: @carocsoundInst: @carocsoundFB: https://www.facebook.com/carocsound/

On this episode of Side Projects, I am joined by Alexander Hacke and Danielle de Picciotto of hackedepicciotto and Ellen Southern and Tom Bush from Dead Space Chamber Music to talk about Musique Concrète. We discuss what it is and how each of them discovered the genre and how it has influenced the music they make. They've each used some strange instruments to create their own Musique Concrète, including a jet turbine and a serrated knife on a stone. It really is amazing how repurposing objects to make Musique Concrète can actually give them a new life. And sometimes Musique Concrète is created by accident, like when a flute has the wrong mouthpiece. And other times, repairing an instrument can actually ruin the qualities that you want for Musique Concrète. Recording the music can be part of the process of creating the desired sound. But you have to be ready because sometimes you only get one take. Follow hackedepicciotto on the socials @hackedepicciotto. Follow Dead Space Chamber Music @deadspacechambermusic. Pick up The Silver Threshold & The Black Hours on Bandcamp. Follow us @PerformanceAnx. You can support the show at ko-fi.com/performanceanxiety or buy merch at performanceanx.threadless.com. Now let's get into some found sounds with Musique Concrète on Performance Anxiety on the Pantheon Podcast Network. Learn more about your ad choices. Visit megaphone.fm/adchoices

On this episode of Side Projects, I am joined by Alexander Hacke and Danielle de Picciotto of hackedepicciotto and Ellen Southern and Tom Bush from Dead Space Chamber Music to talk about Musique Concrète. We discuss what it is and how each of them discovered the genre and how it has influenced the music they make. They've each used some strange instruments to create their own Musique Concrète, including a jet turbine and a serrated knife on a stone. It really is amazing how repurposing objects to make Musique Concrète can actually give them a new life. And sometimes Musique Concrète is created by accident, like when a flute has the wrong mouthpiece. And other times, repairing an instrument can actually ruin the qualities that you want for Musique Concrète. Recording the music can be part of the process of creating the desired sound. But you have to be ready because sometimes you only get one take. Follow hackedepicciotto on the socials @hackedepicciotto. Follow Dead Space Chamber Music @deadspacechambermusic. Pick up The Silver Threshold & The Black Hours on Bandcamp. Follow us @PerformanceAnx. You can support the show at ko-fi.com/performanceanxiety or buy merch at performanceanx.threadless.com. Now let's get into some found sounds with Musique Concrète on Performance Anxiety on the Pantheon Podcast Network.

On this episode of Side Projects, I am joined by Alexander Hacke and Danielle de Picciotto of hackedepicciotto and Ellen Southern and Tom Bush from Dead Space Chamber Music to talk about Musique Concrète. We discuss what it is and how each of them discovered the genre and how it has influenced the music they make. They've each used some strange instruments to create their own Musique Concrète, including a jet turbine and a serrated knife on a stone. It really is amazing how repurposing objects to make Musique Concrète can actually give them a new life. And sometimes Musique Concrète is created by accident, like when a flute has the wrong mouthpiece. And other times, repairing an instrument can actually ruin the qualities that you want for Musique Concrète. Recording the music can be part of the process of creating the desired sound. But you have to be ready because sometimes you only get one take. Follow hackedepicciotto on the socials @hackedepicciotto. Follow Dead Space Chamber Music @deadspacechambermusic. Pick up The Silver Threshold & The Black Hours on Bandcamp. Follow us @PerformanceAnx. You can support the show at ko-fi.com/performanceanxiety or buy merch at performanceanx.threadless.com. Now let's get into some found sounds with Musique Concrète on Performance Anxiety on the Pantheon Podcast Network. Learn more about your ad choices. Visit megaphone.fm/adchoices

On this episode of Side Projects, I am joined by Alexander Hacke and Danielle de Picciotto of hackedepicciotto and Ellen Southern and Tom Bush from Dead Space Chamber Music to talk about Musique Concrète. We discuss what it is and how each of them discovered the genre and how it has influenced the music they make. They've each used some strange instruments to create their own Musique Concrète, including a jet turbine and a serrated knife on a stone. It really is amazing how repurposing objects to make Musique Concrète can actually give them a new life. And sometimes Musique Concrète is created by accident, like when a flute has the wrong mouthpiece. And other times, repairing an instrument can actually ruin the qualities that you want for Musique Concrète. Recording the music can be part of the process of creating the desired sound. But you have to be ready because sometimes you only get one take. Follow hackedepicciotto on the socials @hackedepicciotto. Follow Dead Space Chamber Music @deadspacechambermusic. Pick up The Silver Threshold & The Black Hours on Bandcamp. Follow us @PerformanceAnx. You can support the show at ko-fi.com/performanceanxiety or buy merch at performanceanx.threadless.com. Now let's get into some found sounds with Musique Concrète on Performance Anxiety on the Pantheon Podcast Network.

This week's episode looks at “Tomorrow Never Knows”, the making of Revolver by the Beatles, and the influence of Timothy Leary on the burgeoning psychedelic movement. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a fifteen-minute bonus episode available, on "Keep on Running" by the Spencer Davis Group. 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/ Errata A few things -- I say "Fairfield" at one point when I mean "Fairchild". While Timothy Leary was imprisoned in 1970 he wasn't actually placed in the cell next to Charles Manson until 1973. Sources differ on when Geoff Emerick started at EMI, and he *may* not have worked on "Sun Arise", though I've seen enough reliable sources saying he did that I think it's likely. And I've been told that Maureen Cleave denied having an affair with Lennon -- though note that I said it was "strongly rumoured" rather than something definite. Resources As usual, a mix of all the songs excerpted in this episode is available at Mixcloud.com. I have read literally dozens of books on the Beatles, and used bits of information from many of them. All my Beatles episodes refer to: The Complete Beatles Chronicle by Mark Lewisohn, All The Songs: The Stories Behind Every Beatles Release by Jean-Michel Guesdon, And The Band Begins To Play: The Definitive Guide To The Songs of The Beatles by Steve Lambley, The Beatles By Ear by Kevin Moore, Revolution in the Head by Ian MacDonald, and The Beatles Anthology. For this episode, I also referred to Last Interview by David Sheff, a longform interview with John Lennon and Yoko Ono from shortly before Lennon's death; Many Years From Now by Barry Miles, an authorised biography of Paul McCartney; and Here, There, and Everywhere: My Life Recording the Music of the Beatles by Geoff Emerick and Howard Massey. For information on Timothy Leary I used a variety of sources including The Most Dangerous Man in America by Bill Minutaglio and Steven L. Davis; Timothy Leary: Outside Looking In by Robert Forte; The Starseed Signals by Robert Anton Wilson; and especially The Harvard Psychedelic Club by Don Lattin. I also referred to both The Tibetan Book of the Dead and to The Psychedelic Experience. Leary's much-abridged audiobook version of The Psychedelic Experience can be purchased from Folkways Records. Sadly the first mono mix of "Tomorrow Never Knows" has been out of print since it was first issued. The only way to get the second mono mix is on this ludicrously-expensive out-of-print box set, but the stereo mix is easily available on Revolver. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I start this episode, I'd like to note that it deals with a number of subjects some listeners might find upsetting, most notably psychedelic drug use, mental illness, and suicide. I think I've dealt with those subjects fairly respectfully, but you still may want to check the transcript if you have worries about these subjects. Also, we're now entering a period of music history with the start of the psychedelic era where many of the songs we're looking at are influenced by non-mainstream religious traditions, mysticism, and also increasingly by political ideas which may seem strange with nearly sixty years' hindsight. I'd just like to emphasise that when I talk about these ideas, I'm trying as best I can to present the thinking of the people I'm talking about, in an accurate and unbiased way, rather than talking about my own beliefs. We're going to head into some strange places in some of these episodes, and my intention is neither to mock the people I'm talking about nor to endorse their ideas, but to present those ideas to you the listener so you can understand the music, the history, and the mindset of the people involved, Is that clear? Then lets' turn on, tune in, and drop out back to 1955... [Opening excerpt from The Psychedelic Experience] There is a phenomenon in many mystical traditions, which goes by many names, including the dark night of the soul and the abyss. It's an experience that happens to mystics of many types, in which they go through unimaginable pain near the beginning of their journey towards greater spiritual knowledge. That pain usually involves a mixture of internal and external events -- some terrible tragedy happens to them, giving them a new awareness of the world's pain, at the same time they're going through an intellectual crisis about their understanding of the world, and it can last several years. It's very similar to the more common experience of the mid-life crisis, except that rather than buying a sports car and leaving their spouse, mystics going through this are more likely to found a new religion. At least, those who survive the crushing despair intact. Those who come out of the experience the other end often find themselves on a totally new path, almost like they're a different person. In 1955, when Dr. Timothy Leary's dark night of the soul started, he was a respected academic psychologist, a serious scientist who had already made several substantial contributions to his field, and was considered a rising star. By 1970, he would be a confirmed mystic, sentenced to twenty years in prison, in a cell next to Charles Manson, and claiming to different people that he was the reincarnation of Gurdjieff, Aleister Crowley, and Jesus Christ. In the fifties, Leary and his wife had an open relationship, in which they were both allowed to sleep with other people, but weren't allowed to form emotional attachments to them. Unfortunately, Leary *had* formed an emotional attachment to another woman, and had started spending so much time with her that his wife was convinced he was going to leave her. On top of that, Leary was an alcoholic, and was prone to get into drunken rows with his wife. He woke up on the morning of his thirty-fifth birthday, hung over after one of those rows, to find that she had died by suicide while he slept, leaving a note saying that she knew he was going to leave her and that her life would be meaningless without him. This was only months after Leary had realised that the field he was working in, to which he had devoted his academic career, was seriously broken. Along with a colleague, Frank Barron, he published a paper on the results of clinical psychotherapy, "Changes in psychoneurotic patients with and without psychotherapy" which analysed the mental health of a group of people who had been through psychotherapy, and found that a third of them improved, a third stayed the same, and a third got worse. The problem was that there was a control group, of people with the same conditions who were put on a waiting list and told to wait the length of time that the therapy patients were being treated. A third of them improved, a third stayed the same, and a third got worse. In other words, psychotherapy as it was currently practised had no measurable effect at all on patients' health. This devastated Leary, as you might imagine. But more through inertia than anything else, he continued working in the field, and in 1957 he published what was regarded as a masterwork -- his book Interpersonal Diagnosis of Personality: A Functional Theory and Methodology for Personality Evaluation. Leary's book was a challenge to the then-dominant idea in psychology, behaviourism, which claimed that it made no sense to talk about anyone's internal thoughts or feelings -- all that mattered was what could be measured, stimuli and responses, and that in a very real sense the unmeasurable thoughts people had didn't exist at all. Behaviourism looked at every human being as a mechanical black box, like a series of levers. Leary, by contrast, analysed human interactions as games, in which people took on usual roles, but were able, if they realised this, to change the role or even the game itself. It was very similar to the work that Eric Berne was doing at the same time, and which would later be popularised in Berne's book Games People Play. Berne's work was so popular that it led to the late-sixties hit record "Games People Play" by Joe South: [Excerpt: Joe South: "Games People Play"] But in 1957, between Leary and Berne, Leary was considered the more important thinker among his peers -- though some thought of him as more of a showman, enthralled by his own ideas about how he was going to change psychology, than a scientist, and some thought that he was unfairly taking credit for the work of lesser-known but better researchers. But by 1958, the effects of the traumas Leary had gone through a couple of years earlier were at their worst. He was starting to become seriously ill -- from the descriptions, probably from something stress-related and psychosomatic -- and he took his kids off to Europe, where he was going to write the great American novel. But he rapidly ran through his money, and hadn't got very far with the novel. He was broke, and ill, and depressed, and desperate, but then in 1959 his old colleague Frank Barron, who was on holiday in the area, showed up, and the two had a conversation that changed Leary's life forever in multiple ways. The first of the conversational topics would have the more profound effect, though that wouldn't be apparent at first. Barron talked to Leary about his previous holiday, when he'd visited Mexico and taken psilocybin mushrooms. These had been used by Mexicans for centuries, but the first publication about them in English had only been in 1955 -- the same year when Leary had had other things on his mind -- and they were hardly known at all outside Mexico. Barron talked about the experience as being the most profound, revelatory, experience of his life. Leary thought his friend sounded like a madman, but he humoured him for the moment. But Barron also mentioned that another colleague was on holiday in the same area. David McClelland, head of the Harvard Center for Personality Research, had mentioned to Barron that he had just read Diagnosis of Personality and thought it a work of genius. McClelland hired Leary to work for him at Harvard, and that was where Leary met Ram Dass. [Excerpt from "The Psychedelic Experience"] Ram Dass was not the name that Dass was going by at the time -- he was going by his birth name, and only changed his name a few years later, after the events we're talking about -- but as always, on this podcast we don't use people's deadnames, though his is particularly easy to find as it's still the name on the cover of his most famous book, which we'll be talking about shortly. Dass was another psychologist at the Centre for Personality Research, and he would be Leary's closest collaborator for the next several years. The two men would become so close that at several points Leary would go travelling and leave his children in Dass' care for extended periods of time. The two were determined to revolutionise academic psychology. The start of that revolution didn't come until summer 1960. While Leary was on holiday in Cuernavaca in Mexico, a linguist and anthropologist he knew, Lothar Knauth, mentioned that one of the old women in the area collected those magic mushrooms that Barron had been talking about. Leary decided that that might be a fun thing to do on his holiday, and took a few psilocybin mushrooms. The effect was extraordinary. Leary called this, which had been intended only as a bit of fun, "the deepest religious experience of my life". [Excerpt from "The Psychedelic Experience"] He returned to Harvard after his summer holiday and started what became the Harvard Psilocybin Project. Leary and various other experimenters took controlled doses of psilocybin and wrote down their experiences, and Leary believed this would end up revolutionising psychology, giving them insights unattainable by other methods. The experimenters included lecturers, grad students, and people like authors Allen Ginsberg and William Burroughs, jazz trumpeter Maynard Ferguson, and Alan Watts, who popularised Zen Buddhism in the West. Dass didn't join the project until early 1961 -- he'd actually been on the holiday with Leary, but had arrived a few days after the mushroom experiment, and nobody had been able to get hold of the old woman who knew where to find the mushrooms, so he'd just had to deal with Leary telling him about how great it was rather than try it himself. He then spent a semester as a visiting scholar at Berkeley, so he didn't get to try his first trip until February 1961. Dass, on his first trip, first had a revelation about the nature of his own true soul, then decided at three in the morning that he needed to go and see his parents, who lived nearby, and tell them the good news. But there was several feet of snow, and so he decided he must save his parents from the snow, and shovel the path to their house. At three in the morning. Then he saw them looking out the window at him, he waved, and then started dancing around the shovel. He later said “Until that moment I was always trying to be the good boy, looking at myself through other people's eyes. What did the mothers, fathers, teachers, colleagues want me to be? That night, for the first time, I felt good inside. It was OK to be me.” The Harvard Psilocybin Project soon became the Harvard Psychedelic Project. The term "psychedelic", meaning "soul revealing", was coined by the British psychiatrist Humphrey Osmond, who had been experimenting with hallucinogens for years, and had guided Aldous Huxley on the mescaline trip described in The Doors of Perception. Osmond and Huxley had agreed that the term "psychotomimetic", in use at the time, which meant "mimicking psychosis", wasn't right -- it was too negative. They started writing letters to each other, suggesting alternative terms. Huxley came up with "phanerothyme", the Greek for "soul revealing", and wrote a little couplet to Osmond: To make this trivial world sublime Take half a gramme of phanerothyme. Osmond countered with the Latin equivalent: To fathom hell or soar angelic Just take a pinch of psychedelic Osmond also inspired Leary's most important experimental work of the early sixties. Osmond had got to know Bill W., the founder of Alcoholics Anonymous, and had introduced W. to LSD. W. had become sober after experiencing a profound spiritual awakening and a vision of white light while being treated for his alcoholism using the so-called "belladonna cure" -- a mixture of various hallucinogenic and toxic substances that was meant to cure alcoholism. When W. tried LSD, he found it replicated his previous spiritual experience and became very evangelistic about its use by alcoholics, thinking it could give them the same kind of awakening he'd had. Leary became convinced that if LSD could work on alcoholics, it could also be used to help reshape the personalities of habitual criminals and lead them away from reoffending. His idea for how to treat people was based, in part, on the ideas of transactional analysis. There is always a hierarchical relationship between a therapist and their patient, and that hierarchical relationship itself, in Leary's opinion, forced people into particular game roles and made it impossible for them to relate as equals, and thus impossible for the therapist to truly help the patient. So his idea was that there needed to be a shared bonding experience between patient and doctor. So in his prison experiments, he and the other people involved, including Ralph Metzner, one of his grad students, would take psilocybin *with* the patients. In short-term follow-ups the patients who went through this treatment process were less depressed, felt better, and were only half as likely to reoffend as normal prisoners. But critics pointed out that the prisoners had been getting a lot of individual attention and support, and there was no control group getting that support without the psychedelics. [Excerpt: The Psychedelic Experience] As the experiments progressed, though, things were becoming tense within Harvard. There was concern that some of the students who were being given psilocybin were psychologically vulnerable and were being put at real risk. There was also worry about the way that Leary and Dass were emphasising experience over analysis, which was felt to be against the whole of academia. Increasingly it looked like there was a clique forming as well, with those who had taken part in their experiments on the inside and looking down on those outside, and it looked to many people like this was turning into an actual cult. This was simply not what the Harvard psychology department was meant to be doing. And one Harvard student was out to shut them down for good, and his name was Andrew Weil. Weil is now best known as one of the leading lights in alternative health, and has made appearances on Oprah and Larry King Live, but for many years his research interest was in mind-altering chemicals -- his undergraduate thesis was on the use of nutmeg to induce different states of consciousness. At this point Weil was an undergraduate, and he and his friend Ronnie Winston had both tried to get involved in the Harvard Psilocybin Project, but had been turned down -- while they were enthusiastic about it, they were also undergraduates, and Leary and Dass had agreed with the university that they wouldn't be using undergraduates in their project, and that only graduate students, faculty, and outsiders would be involved. So Weil and Winston had started their own series of experiments, using mescaline after they'd been unable to get any psilocybin -- they'd contacted Aldous Huxley, the author of The Doors of Perception and an influence on Leary and Dass' experiments, and asked him where they could get mescaline, and he'd pointed them in the right direction. But then Winston and Dass had become friends, and Dass had given Winston some psilocybin -- not as part of his experiments, so Dass didn't think he was crossing a line, but just socially. Weil saw this as a betrayal by Winston, who stopped hanging round with him once he became close to Dass, and also as a rejection of him by Dass and Leary. If they'd give Winston psilocybin, why wouldn't they give it to him? Weil was a writer for the Harvard Crimson, Harvard's newspaper, and he wrote a series of exposes on Leary and Dass for the Crimson. He went to his former friend Winston's father and told him "Your son is getting drugs from a faculty member. If your son will admit to that charge, we'll cut out your son's name. We won't use it in the article."  Winston did admit to the charge, under pressure from his father, and was brought to tell the Dean, saying to the Dean “Yes, sir, I did, and it was the most educational experience I've had at Harvard.” Weil wrote about this for the Crimson, and the story was picked up by the national media. Weil eventually wrote about Leary and Dass for Look magazine, where he wrote “There were stories of students and others using hallucinogens for seductions, both heterosexual and homosexual.” And this seems actually to have been a big part of Weil's motivation. While Dass and Winston always said that their relationship was purely platonic, Dass was bisexual, and Weil seems to have assumed his friend had been led astray by an evil seducer. This was at a time when homophobia and biphobia were even more prevalent in society than they are now, and part of the reason Leary and Dass fell out in the late sixties is that Leary started to see Dass' sexuality as evil and perverted and something they should be trying to use LSD to cure. The experiments became a national scandal, and one of the reasons that LSD was criminalised a few years later. Dass was sacked for giving drugs to undergraduates; Leary had gone off to Mexico to get away from the stress, leaving his kids with Dass. He would be sacked for going off without permission and leaving his classes untaught. As Leary and Dass were out of Harvard, they had to look for other sources of funding. Luckily, Dass turned William Mellon Hitchcock, the heir to the Mellon oil fortune, on to acid, and he and his brother Tommy and sister Peggy gave them the run of a sixty-four room mansion, named Millbrook. When they started there, they were still trying to be academics, but over the five years they were at Millbrook it became steadily less about research and more of a hippie commune, with regular visitors and long-term residents including Alan Ginsberg, William Burroughs, and the jazz musician Maynard Ferguson, who would later get a small amount of fame with jazz-rock records like his version of "MacArthur Park": [Excerpt: Maynard Ferguson, "MacArthur Park"] It was at Millbrook that Leary, Dass, and Metzner would write the book that became The Psychedelic Experience. This book was inspired by the Bardo Thödol, a book allegedly written by Padmasambhava, the man who introduced Buddhism to Tibet in the eighth century, though no copies of it are known to have existed before the fourteenth century, when it was supposedly discovered by Karma Lingpa. Its title translates as Liberation Through Hearing During the Intermediate State, but it was translated into English under the name The Tibetan Book of the Dead, as Walter Evans-Wentz, who compiled and edited the first English translation was, like many Westerners who studied Buddhism in the early part of the twentieth century, doing so because he was an occultist and a member of the Theosophical Society, which believes the secret occult masters of the world live in Tibet, but which also considered the Egyptian Book of the Dead -- a book which bears little relationship to the Bardo Thödol, and which was written thousands of years earlier on a different continent -- to be a major religious document. So it was through that lens that Evans-Wentz was viewing the Bardo Thödol, and he renamed the book to emphasise what he perceived as its similarities. Part of the Bardo Thödol is a description of what happens to someone between death and rebirth -- the process by which the dead person becomes aware of true reality, and then either transcends it or is dragged back into it by their lesser impulses -- and a series of meditations that can be used to help with that transcendence. In the version published as The Tibetan Book of the Dead, this is accompanied by commentary from Evans-Wentz, who while he was interested in Buddhism didn't actually know that much about Tibetan Buddhism, and was looking at the text through a Theosophical lens, and mostly interpreting it using Hindu concepts. Later editions of Evans-Wentz's version added further commentary by Carl Jung, which looked at Evans-Wentz's version of the book through Jung's own lens, seeing it as a book about psychological states, not about anything more supernatural (although Jung's version of psychology was always a supernaturalist one, of course). His Westernised, psychologised, version of the book's message became part of the third edition. Metzner later said "At the suggestion of Aldous Huxley and Gerald Heard we began using the Bardo Thödol ( Tibetan Book of the Dead) as a guide to psychedelic sessions. The Tibetan Buddhists talked about the three phases of experience on the “intermediate planes” ( bardos) between death and rebirth. We translated this to refer to the death and the rebirth of the ego, or ordinary personality. Stripped of the elaborate Tibetan symbolism and transposed into Western concepts, the text provided a remarkable parallel to our findings." Leary, Dass, and Metzner rewrote the book into a form that could be used to guide a reader through a psychedelic trip, through the death of their ego and its rebirth. Later, Leary would record an abridged audiobook version, and it's this that we've been hearing excerpts of during this podcast so far: [Excerpt: The Psychedelic Experience "Turn off your mind, relax, float downstream" about 04:15] When we left the Beatles, they were at the absolute height of their fame, though in retrospect the cracks had already begun to show.  Their second film had been released, and the soundtrack had contained some of their best work, but the title track, "Help!", had been a worrying insight into John Lennon's current mental state. Immediately after making the film and album, of course, they went back out touring, first a European tour, then an American one, which probably counts as the first true stadium tour. There had been other stadium shows before the Beatles 1965 tour -- we talked way back in the first episodes of the series about how Sister Rosetta Tharpe had a *wedding* that was a stadium gig. But of course there are stadiums and stadiums, and the Beatles' 1965 tour had them playing the kind of venues that no other musician, and certainly no other rock band, had ever played. Most famously, of course, there was the opening concert of the tour at Shea Stadium, where they played to an audience of fifty-five thousand people -- the largest audience a rock band had ever played for, and one which would remain a record for many years. Most of those people, of course, couldn't actually hear much of anything -- the band weren't playing through a public address system designed for music, just playing through the loudspeakers that were designed for commentating on baseball games. But even if they had been playing through the kind of modern sound systems used today, it's unlikely that the audience would have heard much due to the overwhelming noise coming from the crowd. Similarly, there were no live video feeds of the show or any of the other things that nowadays make it at least possible for the audience to have some idea what is going on on stage. The difference between this and anything that anyone had experienced before was so great that the group became overwhelmed. There's video footage of the show -- a heavily-edited version, with quite a few overdubs and rerecordings of some tracks was broadcast on TV, and it's also been shown in cinemas more recently as part of promotion for an underwhelming documentary about the Beatles' tours -- and you can see Lennon in particular becoming actually hysterical during the performance of "I'm Down", where he's playing the organ with his elbows. Sadly the audio nature of this podcast doesn't allow me to show Lennon's facial expression, but you can hear something of the exuberance in the performance. This is from what is labelled as a copy of the raw audio of the show -- the version broadcast on TV had a fair bit of additional sweetening work done on it: [Excerpt: The Beatles, "I'm Down (Live at Shea Stadium)"] After their American tour they had almost six weeks off work to write new material before going back into the studio to record their second album of the year, and one which would be a major turning point for the group. The first day of the recording sessions for this new album, Rubber Soul, started with two songs of Lennon's. The first of these was "Run For Your Life", a song Lennon never later had much good to say about, and which is widely regarded as the worst song on the album. That song was written off a line from Elvis Presley's version of "Baby Let's Play House", and while Lennon never stated this, it's likely that it was brought to mind by the Beatles having met with Elvis during their US tour. But the second song was more interesting. Starting with "Help!", Lennon had been trying to write more interesting lyrics. This had been inspired by two conversations with British journalists -- Kenneth Allsop had told Lennon that while he liked Lennon's poetry, the lyrics to his songs were banal in comparison and he found them unlistenable as a result, while Maureen Cleave, a journalist who was a close friend with Lennon, had told him that she hadn't noticed a single word in any of his lyrics with more than two syllables, so he made more of an effort with "Help!", putting in words like "independence" and "insecure". As he said in one of his last interviews, "I was insecure then, and things like that happened more than once. I never considered it before. So after that I put a few words with three syllables in, but she didn't think much of them when I played it for her, anyway.” Cleave may have been an inspiration for "Norwegian Wood (This Bird Has Flown)". There are very strong rumours that Lennon had an affair with Cleave in the mid-sixties, and if that's true it would definitely fit into a pattern. Lennon had many, many, affairs during his first marriage, both brief one-night stands and deeper emotional attachments, and those emotional attachments were generally with women who were slightly older, intellectual, somewhat exotic looking by the standards of 1960s Britain, and in the arts. Lennon later claimed to have had an affair with Eleanor Bron, the Beatles' co-star in Help!, though she always denied this, and it's fairly widely established that he did have an affair with Alma Cogan, a singer who he'd mocked during her peak of popularity in the fifties, but who would later become one of his closest friends: [Excerpt: Alma Cogan, "Why Do Fools Fall in Love?"] And "Norwegian Wood", the second song recorded for Rubber Soul, started out as a confession to one of these affairs, a way of Lennon admitting it to his wife without really admitting it. The figure in the song is a slightly aloof, distant woman, and the title refers to the taste among Bohemian British people at the time for minimalist decor made of Scandinavian pine -- something that would have been a very obvious class signifier at the time. [Excerpt: The Beatles, "Norwegian Wood (This Bird Has Flown)"] Lennon and McCartney had different stories about who wrote what in the song, and Lennon's own story seems to have changed at various times. What seems to have happened is that Lennon wrote the first couple of verses while on holiday with George Martin, and finished it off later with McCartney's help. McCartney seems to have come up with the middle eight melody -- which is in Dorian mode rather than the Mixolydian mode of the verses -- and to have come up with the twist ending, where the woman refuses to sleep with the protagonist and laughs at him, he goes to sleep in the bath rather than her bed, wakes up alone, and sets fire to the house in revenge. This in some ways makes "Norwegian Wood" the thematic centrepiece of the album that was to result, combining several of the themes its two songwriters came back to throughout the album and the single recorded alongside it. Like Lennon's "Run For Your Life" it has a misogynistic edge to it, and deals with taking revenge against a woman, but like his song "Girl", it deals with a distant, unattainable, woman, who the singer sees as above him but who has a slightly cruel edge -- the kind of girl who puts you down when friends are there,  you feel a fool, is very similar to the woman who tells you to sit down but has no chairs in her minimalist flat. A big teaser who takes you half the way there is likely to laugh at you as you crawl off to sleep in the bath while she goes off to bed alone. Meanwhile, McCartney's two most popular contributions to the album, "Michelle" and "Drive My Car", also feature unattainable women, but are essentially comedy songs -- "Michelle" is a pastiche French song which McCartney used to play as a teenager while pretending to be foreign to impress girls, dug up and finished for the album, while "Drive My Car" is a comedy song with a twist in the punchline, just like "Norwegian Wood", though "Norwegian Wood"s twist is darker. But "Norwegian Wood" is even more famous for its music than for its lyric. The basis of the song is Lennon imitating Dylan's style -- something that Dylan saw, and countered with "Fourth Time Around", a song which people have interpreted multiple ways, but one of those interpretations has always been that it's a fairly vicious parody of "Norwegian Wood": [Excerpt: Bob Dylan, "Fourth Time Around"] Certainly Lennon thought that at first, saying a few years later "I was very paranoid about that. I remember he played it to me when he was in London. He said, what do you think? I said, I don't like it. I didn't like it. I was very paranoid. I just didn't like what I felt I was feeling – I thought it was an out and out skit, you know, but it wasn't. It was great. I mean he wasn't playing any tricks on me. I was just going through the bit." But the aspect of "Norwegian Wood" that has had more comment over the years has been the sitar part, played by George Harrison: [Excerpt: The Beatles, "Norwegian Wood"] This has often been called the first sitar to be used on a rock record, and that may be the case, but it's difficult to say for sure. Indian music was very much in the air among British groups in September 1965, when the Beatles recorded the track. That spring, two records had almost simultaneously introduced Indian-influenced music into the pop charts. The first had been the Yardbirds' "Heart Full of Soul", released in June and recorded in April. In fact, the Yardbirds had actually used a sitar on their first attempt at recording the song, which if it had been released would have been an earlier example than the Beatles: [Excerpt: The Yardbirds, "Heart Full of Soul (first version)"] But in the finished recording they had replaced that with Jeff Beck playing a guitar in a way that made it sound vaguely like a sitar, rather than using a real one: [Excerpt: The Yardbirds, "Heart Full of Soul (single)"] Meanwhile, after the Yardbirds had recorded that but before they'd released it, and apparently without any discussion between the two groups, the Kinks had done something similar on their "See My Friends", which came out a few weeks after the Yardbirds record: [Excerpt: The Kinks, "See My Friends"] (Incidentally, that track is sometimes titled "See My Friend" rather than "See My Friends", but that's apparently down to a misprint on initial pressings rather than that being the intended title). As part of this general flowering of interest in Indian music, George Harrison had become fascinated with the sound of the sitar while recording scenes in Help! which featured some Indian musicians. He'd then, as we discussed in the episode on "Eight Miles High" been introduced by David Crosby on the Beatles' summer US tour to the music of Ravi Shankar. "Norwegian Wood" likely reminded Harrison of Shankar's work for a couple of reasons. The first is that the melody is very modal -- as I said before, the verses are in Mixolydian mode, while the middle eights are in Dorian -- and as we saw in the "Eight Miles High" episode Indian music is very modal. The second is that for the most part, the verse is all on one chord -- a D chord as Lennon originally played it, though in the final take it's capoed on the second fret so it sounds in E. The only time the chord changes at all is on the words "once had" in the phrase “she once had me” where for one beat each Lennon plays a C9 and a G (sounding as a D9 and A). Both these chords, in the fingering Lennon is using, feel to a guitarist more like "playing a D chord and lifting some fingers up or putting some down" rather than playing new chords, and this is a fairly common way of thinking about stuff particularly when talking about folk and folk-rock music -- you'll tend to get people talking about the "Needles and Pins" riff as being "an A chord where you twiddle your finger about on the D string" rather than changing between A, Asus2, and Asus4. So while there are chord changes, they're minimal and of a kind that can be thought of as "not really" chord changes, and so that may well have reminded Harrison of the drone that's so fundamental to Indian classical music. Either way, he brought in his sitar, and they used it on the track, both the version they cut on the first day of recording and the remake a week later which became the album track: [Excerpt: The Beatles, "Norwegian Wood (This Bird Has Flown)"] At the same time as the group were recording Rubber Soul, they were also working on two tracks that would become their next single -- released as a double A-side because the group couldn't agree which of the two to promote. Both of these songs were actual Lennon/McCartney collaborations, something that was increasingly rare at this point. One, "We Can Work it Out" was initiated by McCartney, and like many of his songs of this period was inspired by tensions in his relationship with his girlfriend Jane Asher -- two of his other songs for Rubber Soul were "I'm Looking Through You" and "You Won't See Me".  The other, "Day Tripper",  was initiated by Lennon, and had other inspirations: [Excerpt: The Beatles, "Day Tripper"] John Lennon and George Harrison's first acid trip had been in spring of 1965, around the time they were recording Help! The fullest version of how they came to try it I've read was in an interview George Harrison gave to Creem magazine in 1987, which I'll quote a bit of: "I had a dentist who invited me and John and our ex-wives to dinner, and he had this acid he'd got off the guy who ran Playboy in London. And the Playboy guy had gotten it off, you know, the people who had it in America. What's his name, Tim Leary. And this guy had never had it himself, didn't know anything about it, but he thought it was an aphrodisiac and he had this girlfriend with huge breasts. He invited us down there with our blonde wives and I think he thought he was gonna have a scene. And he put it in our coffee without telling us—he didn't take any himself. We didn't know we had it, and we'd made an arrangement earlier—after we had dinner we were gonna go to this nightclub to see some friends of ours who were playing in a band. And I was saying, "OK, let's go, we've got to go," and this guy kept saying, "No, don't go, finish your coffee. Then, 20 minutes later or something, I'm saying, "C'mon John, we'd better go now. We're gonna miss the show." And he says we shouldn't go 'cause we've had LSD." They did leave anyway, and they had an experience they later remembered as being both profound and terrifying -- nobody involved had any idea what the effects of LSD actually were, and they didn't realise it was any different from cannabis or amphetamines. Harrison later described feelings of universal love, but also utter terror -- believing himself to be in hell, and that world war III was starting. As he said later "We'd heard of it, but we never knew what it was about and it was put in our coffee maliciously. So it really wasn't us turning each other or the world or anything—we were the victims of silly people." But both men decided it was an experience they needed to have again, and one they wanted to share with their friends. Their next acid trip was the one that we talked about in the episode on "Eight Miles High", with Roger McGuinn, David Crosby, and Peter Fonda. That time Neil Aspinall and Ringo took part as well, but at this point Paul was still unsure about taking it -- he would later say that he was being told by everyone that it changed your worldview so radically you'd never be the same again, and he was understandably cautious about this. Certainly it had a profound effect on Lennon and Harrison -- Starr has never really talked in detail about his own experiences. Harrison would later talk about how prior to taking acid he had been an atheist, but his experiences on the drug gave him an unshakeable conviction in the existence of God -- something he would spend the rest of his life exploring. Lennon didn't change his opinions that drastically, but he did become very evangelistic about the effects of LSD. And "Day Tripper" started out as a dig at what he later described as weekend hippies, who took acid but didn't change the rest of their lives -- which shows a certain level of ego in a man who had at that point only taken acid twice himself -- though in collaboration with McCartney it turned into another of the rather angry songs about unavailable women they were writing at this point. The line "she's a big teaser, she took me half the way there" apparently started as "she's a prick teaser": [Excerpt: The Beatles, "Day Tripper"] In the middle of the recording of Rubber Soul, the group took a break to receive their MBEs from the Queen. Officially the group were awarded these because they had contributed so much to British exports. In actual fact, they received them because the Prime Minister, Harold Wilson, had a government with a majority of only four MPs and was thinking about calling an election to boost his majority. He represented a Liverpool constituency, and wanted to associate his Government and the Labour Party with the most popular entertainers in the UK. "Day Tripper" and "We Can Work it Out" got their TV premiere on a show recorded for Granada TV,  The Music of Lennon and McCartney, and fans of British TV trivia will be pleased to note that the harmonium Lennon plays while the group mimed "We Can Work it Out" in that show is the same one that was played in Coronation Street by Ena Sharples -- the character we heard last episode being Davy Jones' grandmother. As well as the Beatles themselves, that show included other Brian Epstein artists like Cilla Black and Billy J Kramer singing songs that Lennon and McCartney had given to them, plus Peter Sellers, the Beatles' comedy idol, performing "A Hard Day's Night" in the style of Laurence Olivier as Richard III: [Excerpt: Peter Sellers, "A Hard Day's Night"] Another performance on the show was by Peter and Gordon, performing a hit that Paul had given to them, one of his earliest songs: [Excerpt: Peter and Gordon, "A World Without Love"] Peter Asher, of Peter and Gordon, was the brother of Paul McCartney's girlfriend, the actor Jane Asher. And while the other three Beatles were living married lives in mansions in suburbia, McCartney at this point was living with the Asher family in London, and being introduced by them to a far more Bohemian, artistic, hip crowd of people than he had ever before experienced. They were introducing him to types of art and culture of which he had previously been ignorant, and while McCartney was the only Beatle so far who hadn't taken LSD, this kind of mind expansion was far more appealing to him. He was being introduced to art film, to electronic composers like Stockhausen, and to ideas about philosophy and art that he had never considered. Peter Asher was a friend of John Dunbar, who at the time was Marianne Faithfull's husband, though Faithfull had left him and taken up with Mick Jagger, and of Barry Miles, a writer, and in September 1965 the three men had formed a company, Miles, Asher and Dunbar Limited, or MAD for short, which had opened up a bookshop and art gallery, the Indica Gallery, which was one of the first places in London to sell alternative or hippie books and paraphernalia, and which also hosted art events by people like members of the Fluxus art movement. McCartney was a frequent customer, as you might imagine, and he also encouraged the other Beatles to go along, and the Indica Gallery would play an immense role in the group's history, which we'll look at in a future episode. But the first impact it had on the group was when John and Paul went to the shop in late 1965, just after the recording and release of Rubber Soul and the "Day Tripper"/"We Can Work It Out" single, and John bought a copy of The Psychedelic Experience by Leary, Dass, and Metzner. He read the book on a plane journey while going on holiday -- reportedly while taking his third acid trip -- and was inspired. When he returned, he wrote a song which became the first track to be recorded for the group's next album, Revolver: [Excerpt: The Beatles, "Tomorrow Never Knows"] The lyrics were inspired by the parts of The Psychedelic Experience which were in turn inspired by the Tibetan Book of the Dead. Now, it's important to put it this way because most people who talk about this record have apparently never read the book which inspired it. I've read many, many, books on the Beatles which claim that The Psychedelic Experience simply *is* the Tibetan Book of the Dead, slightly paraphrased. In fact, while the authors use the Tibetan Book of the Dead as a structure on which to base their book, much of the book is detailed descriptions of Leary, Dass, and Metzner's hypotheses about what is actually happening during a psychedelic trip, and their notes on the book -- in particular they provide commentaries to the commentaries, giving their view of what Carl Jung meant when he talked about it, and of Evans-Wentz's opinions, and especially of a commentary by Anagarika Govinda, a Westerner who had taken up Tibetan Buddhism seriously and become a monk and one of its most well-known exponents in the West. By the time it's been filtered through so many different viewpoints and perspectives, each rewriting and reinterpreting it to suit their own preconceived ideas, they could have started with a book on the habitat of the Canada goose and ended with much the same result. Much of this is the kind of mixture between religious syncretism and pseudoscience that will be very familiar to anyone who has encountered New Age culture in any way, statements like "The Vedic sages knew the secret; the Eleusinian Initiates knew it; the Tantrics knew it. In all their esoteric writings they whisper the message: It is possible to cut beyond ego-consciousness, to tune in on neurological processes which flash by at the speed of light, and to become aware of the enormous treasury of ancient racial knowledge welded into the nucleus of every cell in your body". This kind of viewpoint is one that has been around in one form or another since the nineteenth century religious revivals in America that led to Mormonism, Christian Science, and the New Thought. It's found today in books and documentaries like The Secret and the writings of people like Deepak Chopra, and the idea is always the same one -- people thousands of years ago had a lost wisdom that has only now been rediscovered through the miracle of modern science. This always involves a complete misrepresentation of both the lost wisdom and of the modern science. In particular, Leary, Dass, and Metzner's book freely mixes between phrases that sound vaguely scientific, like "There are no longer things and persons but only the direct flow of particles", things that are elements of Tibetan Buddhism, and references to ego games and "game-existence" which come from Leary's particular ideas of psychology as game interactions. All of this is intermingled, and so the claims that some have made that Lennon based the lyrics on the Tibetan Book of the Dead itself are very wrong. Rather the song, which he initially called "The Void", is very much based on Timothy Leary. The song itself was very influenced by Indian music. The melody line consists of only four notes -- E, G, C, and B flat, over a space of an octave: [Demonstrates] This sparse use of notes is very similar to the pentatonic scales in a lot of folk music, but that B-flat makes it the Mixolydian mode, rather than the E minor pentatonic scale our ears at first make it feel like. The B-flat also implies a harmony change -- Lennon originally sang the whole song over one chord, a C, which has the notes C, E, and G in it, but a B-flat note implies instead a chord of C7 -- this is another one of those occasions where you just put one finger down to change the chord while playing, and I suspect that's what Lennon did: [Demonstrates] Lennon's song was inspired by Indian music, but what he wanted was to replicate the psychedelic experience, and this is where McCartney came in. McCartney was, as I said earlier, listening to a lot of electronic composers as part of his general drive to broaden his mind, and in particular he had been listening to quite a bit of Karlheinz Stockhausen. Stockhausen was a composer who had studied with Olivier Messiaen in the 1940s, and had then become attached to the Groupe de Recherche de Musique Concrète along with Messiaen, Pierre Boulez, Edgard Varese and others, notably Pierre Schaeffer and Pierre Henry. These composers were interested in a specific style of music called musique concrète, a style that had been pioneered by Schaeffer. Musique concrète is music that is created from, or at least using, prerecorded sounds that have been electronically altered, rather than with live instruments. Often this would involve found sound -- music made not by instruments at all, but by combining recorded sounds of objects, like with the first major work of musique concrète, Pierre Schaeffer's Cinq études de bruits: [Excerpt: Pierre Schaeffer, "Etude aux Chemins de faire" (from Cinq études de bruits)] Early on, musique concrète composers worked in much the same way that people use turntables to create dance music today -- they would have multiple record players, playing shellac discs, and a mixing desk, and they would drop the needle on the record players to various points, play the records backwards, and so forth. One technique that Schaeffer had come up with was to create records with a closed groove, so that when the record finished, the groove would go back to the start -- the record would just keep playing the same thing over and over and over. Later, when magnetic tape had come into use, Schaeffer had discovered you could get the same effect much more easily by making an actual loop of tape, and had started making loops of tape whose beginnings were stuck to their ending -- again creating something that could keep going over and over. Stockhausen had taken up the practice of using tape loops, most notably in a piece that McCartney was a big admirer of, Gesang der Jeunglinge: [Excerpt: Karlheinz Stockhausen, "Gesang der Jeunglinge"] McCartney suggested using tape loops on Lennon's new song, and everyone was in agreement. And this is the point where George Martin really starts coming into his own as a producer for the group. Martin had always been a good producer, but his being a good producer had up to this point mostly consisted of doing little bits of tidying up and being rather hands-off. He'd scored the strings on "Yesterday", played piano parts, and made suggestions like speeding up "Please Please Me" or putting the hook of "Can't Buy Me Love" at the beginning. Important contributions, contributions that turned good songs into great records, but nothing that Tony Hatch or Norrie Paramor or whoever couldn't have done. Indeed, his biggest contribution had largely been *not* being a Hatch or Paramor, and not imposing his own songs on the group, letting their own artistic voices flourish. But at this point Martin's unique skillset came into play. Martin had specialised in comedy records before his work with the Beatles, and he had worked with Peter Sellers and Spike Milligan of the Goons, making records that required a far odder range of sounds than the normal pop record: [Excerpt: The Goons, "Unchained Melody"] The Goons' radio show had used a lot of sound effects created by the BBC Radiophonic Workshop, a department of the BBC that specialised in creating musique concrète, and Martin had also had some interactions with the Radiophonic Workshop. In particular, he had worked with Maddalena Fagandini of the Workshop on an experimental single combining looped sounds and live instruments, under the pseudonym "Ray Cathode": [Excerpt: Ray Cathode, "Time Beat"] He had also worked on a record that is if anything even more relevant to "Tomorrow Never Knows". Unfortunately, that record is by someone who has been convicted of very serious sex offences. In this case, Rolf Harris, the man in question, was so well-known in Britain before his arrest, so beloved, and so much a part of many people's childhoods, that it may actually be traumatic for people to hear his voice knowing about his crimes. So while I know that showing the slightest consideration for my listeners' feelings will lead to a barrage of comments from angry old men calling me a "woke snowflake" for daring to not want to retraumatise vulnerable listeners, I'll give a little warning before I play the first of two segments of his recordings in a minute. When I do, if you skip forward approximately ninety seconds, you'll miss that section out. Harris was an Australian all-round entertainer, known in Britain for his novelty records, like the unfortunately racist "Tie Me Kangaroo Down Sport" -- which the Beatles later recorded with him in a non-racist version for a BBC session. But he had also, in 1960, recorded and released in Australia a song he'd written based on his understanding of Aboriginal Australian religious beliefs, and backed by Aboriginal musicians on didgeridoo. And we're going to hear that clip now: [Excerpt. Rolf Harris, "Sun Arise" original] EMI, his British label, had not wanted to release that as it was, so he'd got together with George Martin and they'd put together a new version, for British release. That had included a new middle-eight, giving the song a tiny bit of harmonic movement, and Martin had replaced the didgeridoos with eight cellos, playing a drone: [Excerpt: Rolf Harris, "Sun Arise", 1962 version ] OK, we'll just wait a few seconds for anyone who skipped that to catch up... Now, there are some interesting things about that track. That is a track based on a non-Western religious belief, based around a single drone -- the version that Martin produced had a chord change for the middle eight, but the verses were still on the drone -- using the recording studio to make the singer's voice sound different, with a deep, pulsating, drum sound, and using a melody with only a handful of notes, which doesn't start on the tonic but descends to it. Sound familiar? Oh, and a young assistant engineer had worked with George Martin on that session in 1962, in what several sources say was their first session together, and all sources say was one of their first. That young assistant engineer was Geoff Emerick, who had now been promoted to the main engineer role, and was working his first Beatles session in that role on “Tomorrow Never Knows”. Emerick was young and eager to experiment, and he would become a major part of the Beatles' team for the next few years, acting as engineer on all their recordings in 1966 and 67, and returning in 1969 for their last album. To start with, the group recorded a loop of guitar and drums, heavily treated: [Excerpt: "Tomorrow Never Knows", loop] That loop was slowed down to half its speed, and played throughout: [Excerpt: "Tomorrow Never Knows", loop] Onto that the group overdubbed a second set of live drums and Lennon's vocal. Lennon wanted his voice to sound like the Dalai Lama singing from a mountaintop, or like thousands of Tibetan monks. Obviously the group weren't going to fly to Tibet and persuade monks to sing for them, so they wanted some unusual vocal effect. This was quite normal for Lennon, actually. One of the odd things about Lennon is that while he's often regarded as one of the greatest rock vocalists of all time, he always hated his own voice and wanted to change it in the studio. After the Beatles' first album there's barely a dry Lennon solo vocal anywhere on any record he ever made. Either he would be harmonising with someone else, or he'd double-track his vocal, or he'd have it drenched in reverb, or some other effect -- anything to stop it sounding quite so much like him. And Geoff Emerick had the perfect idea. There's a type of speaker called a Leslie speaker, which was originally used to give Hammond organs their swirling sound, but which can be used with other instruments as well. It has two rotating speakers inside it, a bass one and a treble one, and it's the rotation that gives the swirling sound. Ken Townsend, the electrical engineer working on the record, hooked up the speaker from Abbey Road's Hammond organ to Lennon's mic, and Lennon was ecstatic with the sound: [Excerpt: The Beatles, "Tomorrow Never Knows", take one] At least, he was ecstatic with the sound of his vocal, though he did wonder if it might be more interesting to get the same swirling effect by tying himself to a rope and being swung round the microphone The rest of the track wasn't quite working, though, and they decided to have a second attempt. But Lennon had been impressed enough by Emerick that he decided to have a chat with him about music -- his way of showing that Emerick had been accepted. He asked if Emerick had heard the new Tiny Tim record -- which shows how much attention Lennon was actually paying to music at this point. This was two years before Tim's breakthrough with "Tiptoe Through the Tulips", and his first single (unless you count a release from 1963 that was only released as a 78, in the sixties equivalent of a hipster cassette-only release), a version of "April Showers" backed with "Little Girl" -- the old folk song also known as "In the Pines" or "Where Did You Sleep Last Night?": [Excerpt: Tiny Tim, "Little Girl"] Unfortunately for Emerick, he hadn't heard the record, and rather than just say so he tried bluffing, saying "Yes, they're great". Lennon laughed at his attempt to sound like he knew what he was talking about, before explaining that Tiny Tim was a solo artist, though he did say "Nobody's really sure if it's actually a guy or some drag queen". For the second attempt, they decided to cut the whole backing track live rather than play to a loop. Lennon had had trouble staying in sync with the loop, but they had liked the thunderous sound that had been got from slowing the tape down. As Paul talked with Ringo about his drum part, suggesting a new pattern for him to play, Emerick went down into the studio from the control room and made some adjustments. He first deadened the sound of the bass drum by sticking a sweater in it -- it was actually a promotional sweater with eight arms, made when the film Help! had been provisionally titled Eight Arms to Hold You, which Mal Evans had been using as packing material. He then moved the mics much, much closer to the drums that EMI studio rules allowed -- mics can be damaged by loud noises, and EMI had very strict rules about distance, not allowing them within two feet of the drum kit. Emerick decided to risk his job by moving the mics mere inches from the drums, reasoning that he would probably have Lennon's support if he did this. He then put the drum signal through an overloaded Fairfield limiter, giving it a punchier sound than anything that had been recorded in a British studio up to that point: [Excerpt: The Beatles, "Tomorrow Never Knows", isolated drums] That wasn't the only thing they did to make the record sound different though.  As well as Emerick's idea for the Leslie speaker, Ken Townsend had his own idea of how to make Lennon's voice sound different. Lennon had often complained about the difficulty of double-tracking his voice, and so Townsend had had an idea -- if you took a normal recording, fed it to another tape machine a few milliseconds out of sync with the first, and then fed it back into the first, you could create a double-tracked effect without having to actually double-track the vocal. Townsend suggested this, and it was used for the first time on the first half of "Tomorrow Never Knows", before the Leslie speaker takes over. The technique is now known as "artificial double-tracking" or ADT, but the session actually gave rise to another term, commonly used for a similar but slightly different tape-manipulation effect that had already been used by Les Paul among others. Lennon asked how they'd got the effect and George Martin started to explain, but then realised Lennon wasn't really interested in the technical details, and said "we take the original image and we split it through a double-bifurcated sploshing flange". From that point on, Lennon referred to ADT as "flanging", and the term spread, though being applied to the other technique. (Just as a quick aside, some people have claimed other origins for the term "flanging", and they may be right, but I think this is the correct story). Over the backing track they added tambourine and organ overdubs -- with the organ changing to a B flat chord when the vocal hits the B-flat note, even though the rest of the band stays on C -- and then a series of tape loops, mostly recorded by McCartney. There's a recording that circulates which has each of these loops isolated, played first forwards and then backwards at the speed they were recorded, and then going through at the speed they were used on the record, so let's go through these. There's what people call the "seagull" sound, which is apparently McCartney laughing, very distorted: [Excerpt: Tomorrow Never Knows loop] Then there's an orchestral chord: [Excerpt: Tomorrow Never Knows loop] A mellotron on its flute setting: [Excerpt: Tomorrow Never Knows loop] And on its string setting: [Excerpt: Tomorrow Never Knows loop] And a much longer loop of sitar music supplied by George: [Excerpt: Tomorrow Never Knows loop] Each of these loops were played on a different tape machine in a different part of Abbey Road -- they commandeered the entire studio complex, and got engineers to sit with the tapes looped round pencils and wine-glasses, while the Beatles supervised Emerick and Martin in mixing the loops into a single track. They then added a loop of a tamboura drone played by George, and the result was one of the strangest records ever released by a major pop group: [Excerpt: The Beatles, "Tomorrow Never Knows"] While Paul did add some backwards guitar -- some sources say that this is a cut-up version of his solo from George's song "Taxman", but it's actually a different recording, though very much in the same style -- they decided that they were going to have a tape-loop solo rather than a guitar solo: [Excerpt: The Beatles, "Tomorrow Never Knows"] And finally, at the end, there's some tack piano playing from McCartney, inspired by the kind of joke piano parts that used to turn up on the Goon Show. This was just McCartney messing about in the studio, but it was caught on tape, and they asked for it to be included at the end of the track. It's only faintly audible on the standard mixes of the track, but there was actually an alternative mono mix which was only released on British pressings of the album pressed on the first day of its release, before George Martin changed his mind about which mix should have been used, and that has a much longer excerpt of the piano on it. I have to say that I personally like that mix more, and the extra piano at the end does a wonderful job of undercutting what could otherwise be an overly-serious track, in much the same way as the laughter at the end of "Within You, Without You", which they recorded the next year. The same goes for the title -- the track was originally called "The Void", and the tape boxes were labelled "Mark One", but Lennon decided to name the track after one of Starr's malapropisms, the same way they had with "A Hard Day's Night", to avoid the track being too pompous. [Excerpt: Beatles interview] A track like that, of course, had to end the album. Now all they needed to do was to record another thirteen tracks to go before it. But that -- and what they did afterwards, is a story for another time. [Excerpt, "Tomorrow Never Knows (alternate mono mix)" piano tag into theme music]

Are you obsessed with early electronic music?? We started a private group for people like you. https://www.facebook.com/groups/cosmictapemusicclub/ Thanks for joining us for Episode 10 of the Cosmic Tape Music Club Podcast! Join your hosts Jacqueline and Augustus of the experimental pop band The Galaxy Electric as they get cosmic on the topic of Pierre Schaeffer. Thought of by many as the godfather of sampling, he was known as one of the original purveyors of what is now known as musique concrète. He was also the founder of Groupe de Recherche de Musique Concrète also known as GRMC/GRM which led to him setting up a studio with a tape recorder that he would learn to master and use as his sole music making device.    Personal Music section: by artists Andy Slater, Jon Monteverde and Molly Jones mixed by group member Alex Wilson for the Arcane Object X compilation https://arcaneobject.bandcamp.com/album/arcane-object-x From group member Bob Percy under the artist name Second Hand Plan - Problems of Everyday Life https://secondhandplan.bandcamp.com/album/problems-of-everyday-life   Pierre Schaeffer Inspired live improv by The Galaxy Electric: https://youtu.be/CZLFSRORTFw   Cool Podcasts: Source of Uncertainty: A Buchla podcast 4U https://sourceofuncertainty.audio Join Hosts and Group Members Robert and Kyle as they talk about all things Buchla Electronic Instruments

Für eine Band wie dEUS wurde der Begriff Artrock erfunden. Angefangen als Bohemians in den Gassen von Antwerpen mit einer Gitarre, einer Geige, Pinseln und ein bisschen Farbe, entwarfen sie eine cineastische, göttliche Parallelwelt, die Musikliebhaber der ganzen westlichen Welt in einen beinah religiösen Bann zog. 30 Jahre ist das her und niemand kommt mehr los. Das liegt vor allem an dieser einzigartigen Melange aus Alternative, Avantgarde, Punk, Folk, Jazz, Grunge, Musique Concrète und Progressive – aber vor allem an dem Gefühl, das dEUS-Songs vermitteln. Dahinter steckt in erster Linie Tom Barman, er ist von Anfang an Chef der Band und am Neujahrstag 50 geworden - Gelukkige Verjaardag! Sonst gibt es nicht viele Konstanten, talentierte Musiker sind gekommen und gegangen. Die ständigen Wechsel hielten die Band frisch und wurden zu einem weiteren Markenzeichen. Marc Mühlenbrock hat diesen einnehmenden Charakter Tom Barman einst im dEUS-HQ in der Szenestadt Antwerpen besucht und mit ihm über die Geschichte seiner Band gesprochen. Episode #056 mit dEUS: ureigen belgisch und weltoffen, talentiert und selbstzerstörerisch, aber vor allem: Kult.

L'Occasion pour découvrir le BRUITISME et ses influence sur les Musiques Électroacoustiques sans oublier la "Musique Concrète"....la suite dans une seconde émission

L'Occasion pour découvrir le BRUITISME et ses influence sur les Musiques Électroacoustiques sans oublier la "Musique Concrète"....la suite dans une seconde émission

Musique Concrète - an original field recording combined with electronic sounds.

Episode 18   Maximum Turntablism, Part 1 Playlist: Ottorino Respighi, “The Pines of Rome” (1924) recorded by The Milan Symphony Orchestra conducted by Cav. Lorenzo Molajoli in November 1928. Paul Hindemith, Trickaufnahmen (1930). Recording made available by Mark Katz, author of Capturing Sound: How Technology has Changed Music (2004). John Cage, Imaginary Landscape No. 1 (1939) from The 25-Year Retrospective Concert Of The Music Of John Cage (private, 1959). Pierre Schaeffer, “Study For Piano” (1948) from Panorama Of Musique Concrète (1956). Pierre Schaeffer, “Study for Whirligigs” (1948) from Panorama of Musique Concrète (1956). Pierre Schaeffer and Pierre Henry, Symphonie Pour Un Homme Seul (1949-50) from Panorama of Musique Concrète No. 2 (1956). John Cage, Imaginary Landscape No. 5 (1952), from Imaginary Landscapes, by Anthony Braxton and the Maelström Percussion Ensemble Conducted by Jan Williams. Braxton selected the records. Milan Knížák, “Composition No. 1' from Broken Music (1979). Milan Knížák, “Composition No. 3” from Broken Music (1979). Grandmaster Flash & the Furious Five, Adventures on the Wheels of Steel (1981) from the 12” single The Message/ Adventures on the Wheels of Steel (1990). Marina Rosenfeld, “theseatheforestthegarden” (1999), from theforestthegardenthesea (1999, charhizma).   The Archive Mix in which I play two additional tracks at the same time to see what happens. Here are two more tracks of turntablism: DJ Shorty Blitz, a mix created for the collection Hip Hop: The Golden Era 1979-1999 (2018). Otomo Yoshihide, Turntable solo from TV Show "Doremi."   For more information about the history of turntablism, read my book: Electronic and Experimental Music (sixth edition), by Thom Holmes (Routledge 2020).   You might also be interested in the following article by Karin Weissenbrunner about turntablism: Experimental Turntablism--Historical overview of experiments with record players/records or scratches from second-hand technology.   Also check-out the book by Mark Katz, Capturing Sound: How Technology has Changed Music (2004).

About: Paul Stillwell is a musician and composer who is fascinated by the darker side of sound. Influences range through Psychedelic Rock, Dark Ambient, Berlin School electronica, and Musique Concrète.  The Canadian Electronic Ensemble, of which he is a long-time member, has had a profound impact on his musical style and sensibilities.  In 2016, Paul founded the Frequency Freaks Workshops – an inclusive community of composers, musicians and electronic instrument makers. He is also a co-organizer of the Toronto Sound Festival which features talks on mixing, mastering, sound design, field recording, game audio, audio for VR, composition for large and small screens, instrument building, and live performances. As a solo performer, Paul works under the moniker Intrepita.  During the day, he works in IT specializing in Network Security.  There will be a new solo album coming in the near future! Links: https://paulstillwell.bandcamp.com/ https://www.youtube.com/channel/UC8HKMMmmt0jRMXLv6A2GdhA https://www.youtube.com/channel/UCvePeU3RDpAOeazLwLa5W8Q

The Velvet Curtain Mix Tape Volume 2 A joyously eclectic mix of antiques and audio curios, speech, music, soundscapes, and poetry from the 25’ O’ Clock Shows, The Velvet Curtain Mix Tape is two hours of pure deejay-less entertainment. From Alt-Rock to Zouk and stopping at, Blues, Classical, Electronica, Folk, Industrial, Jazz, Musique Concrète, Pop, Psyche, Soul, and all points in between, if you don’t like what you’re hearing stick around for a few minutes and something else will soon be along.This time on the show, new soundscapes from The Akashic Music Channel plus Withnail and…... I The Velvet Curtain will be your curator.

Le philosophe et musicien, auditeur d'un concert autour de la Musique Concrète et Électroacoustique en 2013 par les compositeurs de l'Atelier Métaphoniste. Évocation de son passage à l'IRCAM.

Le philosophe et musicien, auditeur d'un concert autour de la Musique Concrète et Électroacoustique en 2013 par les compositeurs de l'Atelier Métaphoniste. Évocation de son passage à l'IRCAM.

C'est grâce au zâr, rituel thérapeuthique des femmes égyptiennes, que ce compositeur a fait ses premières expérimentations quatre ans avant Pierre Schaeffer ! See acast.com/privacy for privacy and opt-out information.

durée : 00:58:19 - La Série musicale d'été - par : Etienne Menu - Hier le règne végétal inspirait, bruissait et écoutait même de la musique. Place au règne animal ! On miaule, on hulule, on piaille, on hennit, on grommelle, on babille... Bref on frétille ! Les animaux nous fournissent quantité de mélodies et rythmes dont ne saurait se passer la création musicale. - réalisation : Philippe Baudouin

Chapters00:32 - Personal History and storing memories01:28 - Tape recorders capturing birthdays and school trips02:59 - Ambient football on cassette03:46 - Discovering John Cage04:31 - Scores of Stockhausen05.18 - Live music05:52 - David Tudor07:39 - Modular Synth discovery09:23 - In the Studio playtime, Modular Synths, Gesture Arcade11:24 - Lorre-Mill Keyed Mosstone, Ciat-Lonbarde Cocoquantus 211:53 - Lorre-Mill Double Knot, Eventide H913:16 - Macumbista Benjolin17:38 - Morphagene17:57 - Musique Concrète20:41 - Teac Reel-to-Reel21:16 - Tape Loops22:30 - Dinner for Two24:59 - Avoiding the screen25:16 - Going in a loop26:04 - How nothing has changed27:01 - OutroRobin Rimbaud BiogScanner (British artist Robin Rimbaud) traverses the experimental terrain between sound and space connecting a bewilderingly diverse array of genres. Since 1991 he has been intensely active in sonic art, producing concerts, installations and recordings, the albums Mass Observation (1994), Delivery (1997), and The Garden is Full of Metal (1998) hailed by critics as innovative and inspirational works of contemporary electronic music. To date he has scored 65 dance productions, including the hit musical comedy Kirikou & Karaba Narnia, Qualia for the London Royal Ballet, and the world's first Virtual Reality ballet, Nightfall, for Dutch National Ballet.More unusual projects have included designing sound for the Philips Wake-Up Light (2009), the re-opening of the Stedelijk Museum, Amsterdam in 2012 and the new Cisco telephone system used in many offices around the world. His work Salles des Departs is permanently installed in a working morgue in Paris whilst Vex, the residential house by Chance de Silva architects, featuring his permanent soundtrack, won the RIBA London Award 2018.Committed to working with cutting edge practitioners he collaborated with Bryan Ferry, Wayne MacGregor, Mike Kelley, Torres, Michael Nyman, Steve McQueen, Laurie Anderson and Hussein Chalayan, amongst many others.http://www.scannerdot.comHis latest album, An Ascent, was recently released on the DiN Records label - https://din.org.uk/album/an-ascent-din63Where To Get The KitGesture ArcadeLorre-Mill Keyed MosstoneCiat-Lonbarde CocoquantusLorre-Mill Double KnotMacumbista BenjolinMorphagene

Fiery Yellow   Stereolab, Mars Audiac Quintet (Expanded Edition)"Une couleur ne vient jamais seule »  Michel Pastoureau, Editions du Seuil  Yellow  Ken Nordine, ColorsYellow  Tyler The Creator, Cherry BombColors   Underglass, Musique Concrète Works for Children  (It's Not Easy) Bein' Green (From "The Muppet Show"/Soundtrack Version)  Kermit The Frog  Dome   Phantom Orchard, OrraGreenery   Quasimoto, The Further Adventures Of Lord QuasRhapsody In Green   Mort Garson, Mother Earth's Plantasia  Messiaen on Debussy and Color    En Rouge Et Noir Materiali   Miguel Angel Coria, En Rouge Et NoirThe Innocents (1961)   Jack ClaytonUriel's Black Harp   Actress  R.I.P.The Black Dog Runs at Night   Thought GangBlack Sun   Demdike Stare  Tryptych Part 3, Voices Of DustBlue Window   Actress, AZDBlue Roses   Minny Pops, FAC Dance 02: Factory RecordsTintin et les oranges bleues (1964)    Orange Bleue  Isabelle MayereauAzul  Bené Fonteles, Outro Tempo: Electronic And Contemporary Music From Brazil 1978-1992Arthur Rimbaud, "Voyelle"  Rot Grün Tod   Der Plan Normalette SurpriseJack Arthur   Little Red Riding Hood      Turn To Red   Killing Joke Wild Dub - Dread Meets Punk Rocker ReggaeAll The Colors Bleached To White  Colin Stetson Laurie Anderson New History WarfareVol. 2: Judges  White's S. S.  Gavin Bryars From Brussels With LoveWhite   Ken Nordine ColorsRainbow   Brainticket The Vintage Anthology - PsyconautSong  Virgin Prunes Endzeit

Transcript —– Nutcracker – a 100 word story The nutcracker bird was sitting on a high brunch overlooking the kingdom. The king was standing below the apricot tree shouting orders. “Where is my nutcracker? I want to eat some nuts!” he shouted. The bird, hearing the king and wanting to shut him up, did the only thing it could do and dropped some crap on him. “Off with the bird’s head” shouted the king quite angrily, “and do it quick. I’ve got a Tchaikovsky concert to catch. They are playing The Nutcracker Suite.” The bird laughed a little birdie laugh and flew away, as birds would often do. —– Hi there and thanks for stopping by. I’m Guy, and you’re listening to my surreal sketchbook of reality. —– Episode 5, Below the Apricot Tree Stitching sounds together, we create music. This episode Is a semi-philosophical look at music. I’m not a professional philosopher by any means and my approach can be quite absurd, illogical and not at all that serious, so – you’ve been warned. Do not take this podcast too seriously. If you tend to take things too seriously, this might not be the podcast for you. Seriously. I mean it. Find another podcast to listen to. You’re still here? Good. Let’s talk about music. When you put sounds together in an orderly fashion, you usually come up with music. There are many debates about the nature of music. Some claim that creating order and aesthetics in sound are essential in music. Music according to that definition need things like harmony and rhythm in order to be music. If I take the sound of, let’s say, the ocean waves, break them into recorded chunks and rearrange them, then call it music, is it really music? According to that very narrow definition of music as harmony and rhythm patterns, it isn’t, unless you can find harmony in the random sounds of ocean waves, but there are other ways of looking at music. For example, I used to do take the human voice, break it into little pieces, rearrange it and call it music. At least, I believed it was music. Some people disagreed, but I digress. I do think that by checking the boundaries of music, we redefine it and evolve it into something a lot more interesting. I hear something in the other room that might be concrete music. Let me check it out. I’ll be right back. —– Apricot Tree – a 100 word story The king loved his apricots. Everyone knew that, that is, everyone except the new servant who brought him prunes by mistake. The king was furious and the sentence was immediate, “off with his head!” Jasmine, the servants’ wife, was furious. Now, you don’t want to anger a sorceress, especially not one of Jasmines’ skill level. In the morning, they found the king with an apricot tree growing out of his gut, and… very much alive. In the end they just left him there. They say the king is still there, living off his apricot tree. He really loves his apricots. —– Welcome back. Musique Concrète is an experimental musical genre that emerged around the end of the 1920s’. The composers of Musique Concrète used recordings of found sounds as the basis of their music much in the same way Ready Made artists used found materials in their artworks. Included in Musique Concrète were things like the sounds of passing cars and industrial machines from factories. The act of recording sounds and sculpting them into a musical sentence became the act of composition. Other musical genres evolving from Musique Concrète like Industrial Music took it even further, incorporating electronic sounds that where sometimes very far from being melodic or harmonic. They created a new kind of aesthetic for their music. Things like Industrial Music and Musique Concrète show us that there is more to music than meets the ear. The only thing that defines music might be the intention of the musician. Music might have some completely random elements, but by arranging them or deciding which musical element goes where, music is created. In short, music is what the musician decides is music. This concludes episode 5 of this podcast. Close the door on your way out and don’t forget – I’m just a figment of your imagination. —–

On a enfin décidé de se frotter à un sujet qui nous est cher, mais pour lequel on n'avait jamais vraiment sauté le pas. D'abord parce que la musique concrète et l'électroacoustique font probablement partie des musiques les plus intellectualisées, aussi parce qu'elles sont théorisées et produites par des brutes épaisses qui orbitent tous et toutes à mille lieues de nos concepts nourris aux glitches, aux wobbles et aux drones. Mais il le fallait. D'abord parce qu'il aurait été dommage qu'on se coupe de tout un pan historique de la musique électronique, ensuite parce qu'elles peuvent être fascinantes. Alors oui, on a probablement dit des conneries. Mais au moins, vous avez le droit à deux heures de musiques dont on parie que vous n'en entendrez pas des comme ça de sitôt. Tracklist : Pierre Henry et Pierre Schaeffer - Clavecin sarcastique (Écho d'Orphée 53, 1953) Francis Dhomont - Je te salue, vieil océan! (... Et autres Utopies, 2006) Bernard Parmegiani - Étude élastique (De Natura Sonorum, 1978) Adam Stanović - Metallurgic (Ténébrisme, 2018) Pink Floyd - Quicksilver (Soundtrack From the Film "More", 1969) David Berezan - Badlands (Allusions sonores, 2008) Manuella Blackburn - Ice Breaker (Petites Étincelles, 2017) Lutto Lento - First Partition (Partition, 2013) Bérangère Maximin - Mvt III, Distance (Infinitesimal, 2013) Luc Ferrari - Les vendanges, Saint-Laurent d'Eze, France (Les Anecdotiques: Exploitation des concepts N° 6, 2004) Åke Parmerud - Grains of Voices (Grains of Voices, 1997) Photo : Bérangère Maximin, par Marine Dricot

On a enfin décidé de se frotter à un sujet qui nous est cher, mais pour lequel on avait jamais vraiment sauté le pas. D'abord parce que la musique concrète et l'électroacoustique font probablement partie des musiques les plus intellectualisées, aussi parce qu'elles sont théorisées et produites par des brutes épaisses qui orbitent tous et toutes à mille lieues de nos concepts nourris aux glitchs, aux wobbles et aux drones. Mais il le fallait. D'abord parce qu'il aurait été dommage qu'on se coupe de tout un pan historique de la musique électronique, ensuite parce qu'elles peuvent être fascinantes. Alors oui, on a probablement dit des conneries. Mais au moins, vous avez le droit à deux heures de musiques dont on parie que vous n'en entendrez pas des comme ça de sitôt. Bérangère Maximin. © Marine Dricot. Tracklist :  Pierre Henri et Pierre Schaeffer - Clavecin sarcastique (Echo d'Orphée, 1953) Francis Dhomont - Je te salue, vieil océan ! (... et autres utopies, 1998) Bernard Parmegiani - Etude élastique (De natura sonorum, 1978) Adam Stanović - Metallurgic (Ténébrismes, 2015) Pink Floyd  - Quicksilver (More, 1969) David Berezan - Badlands (Allusions sonores, 2008) Manuella Blackburn  - Ice Breaker (Petites Etincelles, 2015) Lutto Lento - First Partition (Partition, 2013) Bérangère Maximin - Mvt III : Distance (Infinitésimal, 2013) Luc Ferrari - Les vendanges, Saint-Laurent d'Eze, France (Les anecdotiques) Åke Parmerud - Grains of Voices (Grains 1995)

On a enfin décidé de se frotter à un sujet qui nous est cher, mais pour lequel on n'avait jamais vraiment sauté le pas. D'abord parce que la musique concrète et l'électroacoustique font probablement partie des musiques les plus intellectualisées, aussi parce qu'elles sont théorisées et produites par des brutes épaisses qui orbitent tous et toutes à mille lieues de nos concepts nourris aux glitches, aux wobbles et aux drones. Mais il le fallait. D'abord parce qu'il aurait été dommage qu'on se coupe de tout un pan historique de la musique électronique, ensuite parce qu'elles peuvent être fascinantes. Alors oui, on a probablement dit des conneries. Mais au moins, vous avez le droit à deux heures de musiques dont on parie que vous n'en entendrez pas des comme ça de sitôt. Tracklist : Pierre Henry & Pierre Schaeffer - Clavecin sarcastique (Écho d'Orphée 53, 1953) Francis Dhomont - Je te salue, vieil océan! (... Et autres Utopies, 2006) Bernard Parmegiani - Étude élastique (De Natura Sonorum, 1978) Adam Stanović - Metallurgic (Ténébrisme, 2018) Pink Floyd - Quicksilver (Soundtrack From the Film "More", 1969) David Berezan - Badlands (Allusions sonores, 2013) Manuella Blackburn - Ice Breaker (Petites Étincelles, 2017) Lutto Lento - First Partition (Partition, 2013) Bérangère Maximin - Mvt III, Distance (Infinitesimal, 2013) Luc Ferrari - Les vendanges, Saint-Laurent d'Eze, France (Les Anecdotiques: Exploitation des concepts N° 6, 2004) Åke Parmerud - Grains of Voices (Grains of Voices, 1997) Photo : Bérangère Maximin, par Marine Dricot

Fuzzy Proxy is the second artist we cold-contacted for an interview, and we couldn't be happier that they said yes! This interview is a little short, but it's chock full of life and delightful, chippy tunes! Genres include: chiptune, witchhouse  Here’s where to find them: Fuzzy Proxy: patreon, twitter, mastodon (meemu.org), mastodon (snouts.online), bandcamp, soundcloud Out and Loud: twitter, bandcamp, soundcloud Tracks Played: Boundary: bandcamp, soundcloud Machinima: bandcamp, soundcloud Progress: bandcamp, soundcloud Cracked Foundation: bandcamp, soundcloud Tools Mentioned: Little Sound DJ Famitracker Melodyne Artists Mentioned: White Ring - Black Earth That Made Me Steve Reich - Clapping Music Words that may have been hard to understand: Musique Concrète Zoofonix can be found in the following locations: our website Twitter: @zoofonix Facebook: zoofonix tumblr: zoofonix Soundcloud: zoofonix Spotify: listen, playlists iTunes: listen Google Play Music: listen Stitcher: listenBandcamp: zoofonix email: zoofonix @ gmail.com

Atelier utopique

This episode of the podcast highlights our ongoing creative fascination with the ability to capture and manipulate sound. As always with human creative work, curiosity and experimentation started as soon as the tools became available: in April 1948, the first commercially available audio tape recorder, the Ampex Model 200, hit the market. Before the end of that year, composers were using it to create recordings that they would cut, splice and edit together in all sorts of interesting and weird ways, to create new pieces of 'sculpted music,' recordings called musique concrète. As the available tools grew in number and sophistication, this general practice--of altering, editing, adding to music after it has been recorded--grew and multiplied, too. In our journey here, we quickly move from the conceptual to the popular, so you'll listen to the practice jump from experimental composition to the recording studio and audio production, its evolution into remixing and the internet, and arrive at a still-evolving practice aptly described as plunderphonics.

Première émission d'Oscillation. La musique Concrète.

About a hundred years ago, Berlin sounded like this.

FR-pod109 - DEAD SOUND - INDUSTRIAL TECHNO - http://www.residentadvisor.net/dj/deadsound - booking.freitag.recordings@gmail.com ║▌│█│║▌║││█║▌ ║▌│█│║▌║││█║▌ ║▌│█│║▌║││█║▌ ║▌│█│║▌║││█║▌Born in Stoke on Trent (UK) and now residing in Manchester. Producing Electronic music since the late 90’s. Influences include 90’s Hip Hop, Turntablism and Musique Concrète. ║▌│█│║▌║││█║▌ ║▌│█│║▌║││█║▌ ║▌│█│║▌║││█║▌ ║▌│█│║▌║││█║▌ ★ Tracklist : 1. 09 - TERMINAL YELLOW 2. ELYAS - CAMBERWELL 3. VILLAIN - UNTRACEABLE 4. DEVELOPER - SEQUENCIA 5. HOUND SCALES- DORIAN HOP 6. AS PATRIA - ARCAN 7. TOMOHIKO SAGAE - TWO O CLOCK MAN 8. UNBALANCE - FLUID (JONAS KOPP REMIX) 9. MIKE DEHNERT - EIGENZEIT 10. DELUSIONS - HUMAN MISTAKE 11. RYUJI TAKEUCHI - SHIT HAPPENS 12. MIKE DEHNERT - MECK 13. RYUJI TAKEUCHI - WHAT LIES BEYOND 14. HOWARD HUGESIAN UNTITLED 15. MIKE DEHNERT - TRACER 16. MASS-X-ODUS - GANG WARS 17. TOMOHIKO SAGAE - MENTAL ANGUISH 18. CRS - 62 19. LUKA BAUMANN - ADVERSE 20. DEATH TREE - DELUSIONS 21. MOERBECK - THE RAVEN 22. DAX J & GARETH WILD TRIGGER 23. NIL - (TOMOHIKO SAGAE REMIX) 24. CRS - 5.1 25. SHADOW RUNNER - ULTRA DEXTERITY 26. A1 PEOPLE - DETROIT STYLE 27. JON HOPKINS - WE DISAPPEAR║▌│█│║▌║││█║▌ ║▌│█│║▌║││█║▌ ║▌│█│║▌║││█║▌ ║▌│█│║▌║││█║▌ Latest record on "12 : THE TRUTH EP http://www.deejay.de/The_Truth_Ep__141087

Paranoia. Grenzerfahrungen elektronischer Musik im Kontext von Iannis Xenakis’ Schaffen | Symposium Thu May 31, - Jun 02, 2012 Iannis Xenakis worked at the GRM studios from 1958 to 1962, working in close relation with Pierre Schaeffer and the activities of the Studio. However when one listens to some concrete music examples and then any of Xenakis electronic works, it is difficult to make a clear link between both, except for the similar technological devices used in both music. What is there in Xenakis electronic music? Did it influence concrete and electroacoustic music? Some examples will illustrate the unique approach he developed during this crucial period of his life and of the GRM's existance.