Podcasts about Pietro Grossi

Episode 166 Chapter 26, Early Computer Music (1950–70). 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 26, Early Computer Music (1950–70).  from my book Electronic and Experimental music.   Playlist: EARLY COMPUTER MUSIC (1950–70)   Time Track Time Start Introduction –Thom Holmes 01:40 00:00 1.     Tones from Australia, 1951. All produced using the CSIR Mark 1 computer built at the CSIR's radio-physics division in Sydney. The computer had a speaker—or hooter—to signal when operations were completed. A clever programmer thought of manipulating the signal tones into a melody. 02:18 01:42 2.     Alan Turing's computer music. 1951. Recording made of tones generated by the mainframe computer at the Computing Machine Laboratory in Manchester, England. Snippets of the tunes God Save the King, Baa, Baa Black Sheep, and Glenn Miller's swing classic In the Mood. Plus, the voices of computer lab members listening to the sound as it was recorded. Original acetate recording from 1951 restored by University of Canterbury composer Jason Long and Prof Jack Copeland. 01:55 02:36 3.     Max Mathews, “Numerology” (1960). Introduced by a narrator. From the album Music From Mathematics, Bell Telephone Laboratories. While working at Bell Labs in telecommunications research, Max Mathews was one of the earliest computer engineers to use a general-purpose computer to program music and digitally synthesize musical sound. His programming language Music I allowed composers to design their own virtual instruments, a breakthrough during those pioneering days of computer music. “Numerology” was composed to demonstrate the various parameters, or building blocks, available to the composer using this programming language: vibrato (frequency modulation), attack and decay characteristics, glissando, tremolo (amplitude modulation), and the creation of new waveshapes. 02:49 04:38 4.     John Robinson Pierce, “Beat Canon” (1960). Introduced by a narrator. From the album Music From Mathematics, Bell Telephone Laboratories. Played by IBM computer and direct to digital sound transducer. 00:52 07:28 5.     James Tenney, “Noise Study” (1961). So named because “each of the ‘instruments' used in this piece includes a noise-generator.” 04:24 08:20 6.     “Bicycle Built For Two (Accompanied)” (1963) From the demonstration record Computer Speech - Hee Saw Dhuh Kaet (He Saw The Cat), produced by Bell Laboratories. This recording contains samples of synthesized speech–speech artificially constructed from the basic building blocks of the English language. 01:17 12:42 7.     Lejaren Hiller, “Computer Cantata, Prologue to Strophe III” (1963). From the University Of Illinois. This work employed direct computer synthesis using an IBM 7094 mainframe computer and the Musicomp programming language. 05:41 14:00 8.     J. K. Randall, “Lyric Variations For Violin And Computer” (1965-1968). J. K. Randall's piece had a complex section that pushed the limits of computer processing power at the time. Although the section consisted of only 12 notes, each note was 20 seconds long. Each note overlapped with the next for 10 seconds, making the total length of the section only about 2 minutes. But this required 9 hours to process on one of the fastest computers of the day. 03:34 19:40 9.     John Robinson Pierce, “Eight-Tone Canon” (1966). “Using the computer, one can produce tones with overtones at any frequencies.” Produced at Bell Telephone Laboratories. 03:53 23:14 10.   Pietro Grossi, “Mixed Paganini” (1967). “Transcription for the central processor unit of a GE-115 computer of short excerpts of Paganini music scores. Realized at Studio di Fonologia musicale di Firenze (Italy). 01:46 27:08 11.   Pietro Grossi, “Permutation of Five Sounds” (1967). Recording made on the Italian General Electric label. Realized at Studio di Fonologia musicale di Firenze (Italy). Distributed in 1967 as a New year gift by Olivetti company. 01:33 28:54 12.   Wayne Slawson, “Wishful Thinking About Winter” (1970). Produced at Bell Telephone Laboratories. 03:53 30:26 13.   John Cage and Lejaren Hiller, “HPSCHD” excerpt (1967-1969). The piece was written for Harpsichords and Computer-Generated Sound Tapes. Hiller and Cage staged a lively public performance in 1968 at the University of Illinois in Urbana. The first 10,000 individual recordings came with an insert in the form of a computer printout insert designed to allow the listener to program their own performance. And I quote from the jacket: "The computer-output sheet included in this album is one of 10,000 different numbered solutions of the program KNOBS. It enables the listener who follows its instructions to become a performer of this recording of HPSCHD. Preparation of this material was made possible through the Computing Center of the State University of New York at Buffalo." I happen to have three copies of this album, each with the printout. 07:20 34:16 14.   Jean-Claude Risset, “Computer Suite From "Little Boy" (1968).  Realized at Bell Laboratories. 04:28 41:46 15.   Peter Zinovieff, “January Tensions” (1968). Zinovieff's notes, from the album: “Computer composed and performed. This piece is very much for computer both in its realization and composition. The rules are straightforward. The computer may begin by improvising slowly on whatever material is first chooses. However, once the initial choices are made then these must influence the whole of the rest of the composition. The original sounds must occasionally be remembered and illustrated but a more and more rigid structure is imposed on the randomness. The piece was electronically realized and composed in real time by an 8K PDP8/S and electronic music peripherals.” 09:48 46:12 16.   Barry Vercoe, “Synthesism” (1969). Realized in the Computer Centers of Columbia and Princeton Universities using MUSIC 360 for the IBM 360 mainframe computer. Vercoe authored this musical programming language. 04:33 56:00 17.   Charles Dodge, “The Earth's Magnetic Field” excerpt (1970). Composer Charles Dodge helped close the gap between computer music and other electronic music practices in 1969– 70 by working on computer code at Princeton University and then traveling to Bell Labs to have the code synthesized by a mainframe computer. The work, “Earth's Magnetic Field” (1970) was an outcome of this process. Dodge realized this piece by fusing computer composition with synthesis, one of the earliest examples of a practice that would become the norm many years later but that was quite difficult at the time. He used a “general- purpose sound synthesis program” written by Godfrey Winham at Princeton University. Every sound in the piece was computed into digital form using the IBM/ 360 model 91 at the Columbia University Computer Center and then converted into analog form at the Bell Telephone Laboratories. 07:45 01:00:32 18.   Irv Teibel, "Tintinnabulation (Contemplative Sound)" from Environments (New Concepts In Stereo Sound) (Disc 2) (1970 Syntonic Research).  One side of the record is a rare work of purely electronic computer music in a series that otherwise consisted of natural ambient sounds. It used computer-generated bell sounds, falling back on Teibel's experience processing sounds on an IBM 360 mainframe computer at Bell Labs. The record was promoted for meditation. A sticker on the cover read, "A Sensitizer for the Mind." From the liner notes: “As an illustration of the possibilities currently under examination, Syntonic Research decided to experiment with bell sounds as an environmental sound source. . . . Tintinnabulation can be played at any speed, from 78 to 16 rpm, in full stereo. At different speeds, the sounds change in tone and apparent size, although the harmonics remain unchanged. The effect, unlike real bells, is fully controllable by the use of your volume, bass, and treble controls.” 30:10 01:08:16   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.

Episode 155 Chapter 16, Other European Electronic Music Studios. 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: OTHER EUROPEAN ELECTRONIC MUSIC STUDIOS Time Track Time Start Introduction –Thom Holmes 01:34 00:00 1.     Luciano Berio, “Mutazioni” (1955). Tape composition produced at the RAI studio (Milan). 03:36 01:38 2.     Luciano Berio and Bruno Maderna, “Ritatto di Città (poema radiofonico)” (1955). Tape composition produced at the RAI studio (Milan). 06:05 05:14 3.     Bruno Maderna, “Notturno” (1956). Magnetic tape composition, RAI studio (Milan). 03:24 11:16 4.     Dick Raajimakers, “Song of the Second Moon” (1957). Tape composition produced at the Philips Research Laboratories (Eindhoven). 03:08 14:40 5.     Luciano Berio, “Thema–Omaggio a Joyce” (1958). Early text-sound composition using magnetic tape. RAI studio (Milan). 06:24 17:48 6.     Tom Dissevelt, “Whirling” (1958). Tape composition produced at the Philips Research Laboratories (Eindhoven). 02:37 23:56 7.     Luigi Nono, “Omaggio A Vedova” (1960). Tape composition produced at the R.A.I. (Rome). 04:52 26:32 8.     Pietro Grossi, Marino Zuccheri, “Progetto II e III” (1961). Tape composition produced at the Studio Di Fonologia Musicale Di Firenze (S 2F M) (Florence). 02:56 31:24 9.     Ake Karlung, “Antihappening” (1962). Tape composition produced at the studio of ABF, Stockholm (Norway). 03:51 34:20 10.   Alfred Janson, “Canon” (1964). Tape composition produced in his private studio (Norway). 12:27 38:08 11.   Lars-Gunnar Bodin, “Den heter ingenting, den heter nog ‘Seans 2'” (1965. Tape composition produced in the studios of Swedish Radio (Stockholm). 16:00 50:46 12.   Gruppo NPS (Rampazzi, Marega, Chiggio, Meiners, Alfonsi), “Ricerca 4” (1965). Gruppo Nuove Proposte Sonore (NPS) (Padua). 05:46 01:06:46 13.   Arne Nordheim, “Response I” (1966) for 2 percussion groups and magnetic tape. Tape composition produced at NRK radio (Oslo). 18:09 01:12:32 14.   Enore Zaffiri, “Musica Per Un Anno” (1968, excerpt).  Tape composition produced at the Studio di Musica Elettronica di Torino (SMET) (Torino). 13:41 01:30:41 15.   Teresa Rampazzi, “Duodeno normale” (1972). Tape composition produced at the Gruppo Nuove Proposte Sonore (NPS) (Padua). 01:27 01:44:24   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.

Pietro Grossi"Qualcuno di noi"Mondadori Editorewww.mondadori.itCi viene incontro come un io, e ci racconta di sé, di un'infanzia dentro le soffici spire di una famiglia agiata, della pratica della menzogna come sofisticata strategia di salvezza, di un'adolescenza che si riconosce nelle notti alcoliche, nel precipizio di sentimenti non governati, nel rabbioso esercizio della violenza. Ci racconta di sé, e più racconta più ci prende in contropiede il sospetto che quell'io stia vagando in una pluralità del sentire che detta le nuove avventure della giovinezza, che apre al noto e all'ignoto dell'America, ai deserti degli allucinogeni e alle frequentazioni metropolitane. E mentre ci spinge, quel narratore plurale, a contemplare i contraddittori viluppi della scoperta del mondo, avvertiamo il suo avvicinarsi alla scoperta luminosa dell'amore e al destino della scrittura. Emozioni e caratteri salgono sul ponte di una nave ideale con nomi e nomignoli: a ognuno una funzione. Come in una continua, infiammata sessione parlamentare ciascuno vuole la parola, ciascuno vuole rileggere passato e presente e ipotecare il futuro. Siamo immersi nel flusso inarrestabile dell'accadere, dentro le movimentate gesta di un equipaggio in attesa di un “noi” non arreso all'equivoco della verità. Ambizioso, spazioso, tropicale e selvaggio, Qualcuno di noi è l'opera matura di uno dei più grandi scrittori italiani, finalmente davanti alla cruciale occasione di visitare se stesso e di accompagnarci tutti dentro un abisso in cui si gioca senza regole, sul ciglio del nonsenso.Pietro Grossi (Firenze, 1978), con i suoi otto volumi tra romanzi e raccolte di racconti, ha vinto alcuni dei più importanti premi italiani. Abita, con sua moglie e i suoi figli, in Toscana.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

“Contengo moltitudini”, scriveva il poeta Walt Whitman. E lo stesso scrive Pietro Grossi nel suo nuovo romanzo, che è autobiografico e si intitola “Qualcuno di noi”. I “noi” sono i tanti sé che lo abitano fin da quando era bambino e che lo spingono a mentire, a fare abuso di sostanze, a distruggere relazioni sentimentali, tutto con un obiettivo: spingersi sempre fino al confine estremo dell'esistenza.

Un romanzo denso, denso di accadimenti e di personaggi, ma anche denso di riflessioni sul sé, sul male, le ombre e la scrittura. Un romanzo denso a partire dalla voce narrante che usa la prima persona plurale, il noi, che contiene una moltitudine. Parliamo di "Qualcuno di noi" di Pietro Grossi (Mondadori). Lo scrittore gioca con la sua biografia e le sue memorie consegnando al lettore il racconto di una vita fatta di estremi (le droghe), di attrazione per la violenza e per le ombre, una vita fatta anche di menzogne, di immaginazione e di amore per la scrittura. Già a nove anni il protagonista racconta bugie e bullizza i compagni. Da ragazzo aggredisce un coetaneo colpendolo alla testa con un lucchetto, un episodio destinato a segnare tutta la sua vita. Un libro in cui l'autore mette a nudo le luci e le ombre, le tante ombre, della sua vita che diventa romanzo. Nella seconda parte parliamo del thriller psicologico "La torre d'avorio" (Neri Pozza) di Paola Barbato. Al centro c'è Mara, affetta dalla "sindrome di Münchausen per procura", un disturbo che spinge un soggetto a provocare danni fisici a persone alle quali vuole bene, soprattutto i figli, per ricevere dagli altri compassione. La donna ha passato tredici anni in una Rems, quelli che un tempo venivano chiamati ospedali psichiatrici giudiziari: aveva avvelenato con la digitossina il marito e i due figli piccoli, tutti miracolosamente sopravvissuti. Da alcuni anni la donna vive in un appartamento pieno di scatole (la torre d'avorio) dal quale esce il meno possibile. Tutto cambia quando scopre che l'uomo che abita nell'appartamento sopra al suo è stato ucciso, proprio con la digitossina. Essendo la principale indiziata, scappa. Ma chi ha ucciso quest'uomo e soprattutto perché si vuole spingere la polizia a sospettare di Mara?

Episode 101 Crosscurrents in Early Electronic Music in Italy—Part 2 Playlist Pietro Grossi, Studio Di Fonologia Musicale Di Firenze (S 2F M) Pietro Grossi, Marino Zuccheri, “Progetto II e III” (1961) (1961 RAI). Pietro Grossi began experimenting with electronic sound while visiting the RAI in the early 1960s. During this time, he became fascinated with algorithmic manipulations of sine waves and produced the piece Progetto 2-3 (1961) which mathematically managed the slowly intersecting trajectories of six audio signals. This is an excerpt from the original 30-minute work. 2:56 Pietro Grossi, S2 F M: A1, “Primavera,” “Estate,” Autunno,' “Inverno,' “Alba,' “Tramonto,' “Notte,' “Temporale,' “Arcobaleno,” “Suspense N. 1,” “Suspense N. 2,” “Suspense N. 3,” “Suspense N. 4” and “Thrilling” from Electronic Soundtracks (1965 Cooper Recordes). Works composed at the Studio di Fonologia Musicale (S 2F M) in Florence. This is the first example of broadcast library music that Grossi was engaged in for many of the following years, presumably to keep his S2FM Studio funded. 9:24 Pietro Grossi, “Battimenti A Due Frequenze” (1965) from Battimenti (2003 Ants). From the inside cover: "94 sets of beats with 2, 3, 4, 5 frequencies taken from a catalogue of sound events that I and my collaborators have created in the electronic music studio S 2F M around the year 1965. These sound events were meant to be used for various compositional purposes. Each set of beats lasts approximately 30 seconds; they are arranged as follows: 10 sets with two frequencies, 25 with three frequencies, 31 with four frequencies, 28 with five frequencies. Listening at low level is suggested. P.G." Interestingly, this experiment in four parts required about 54 minutes to hear in total. This part is the shortest. 5:50 Pietro Grossi, “Collage” (1968) from Musicautomatica (2003 Die Schachtel). A change of pace from other works at this studio, this collage piece is an electroacoustic work largely based on naturally occuring sounds that have been distorted and modified. 13:52 Pietro Grossi, “Citta' Sommersa,” from Atmosfera & Elettronica (1972 Lupus records). Another broadcast library album of interesting, electronic atmospheres. 2:59 Studio Di Fonologia Musicale Di Firenze, “Mixed Paganini,” “Permutations Of Five Sounds,” “Continuous,” (1967) from GE-115 - Computer Concerto. Imagine hyour surprise if you were a recipient of this 7-inch disc that was distributed in 1967 as a New Year's gift by Olivetti company. “Transcriptions for the central processor unit of a GE-115 computer of short excerpts of Paganini & Bach music scores and original works as well.” I chose to present side 2 of the disc which features early computer works with a flare for the rapid-fire articulation of notes by the computer. These examples vary significantly from the more traditional classical arrangements found on side 1. Realized at Studio di Fonologia musicale di Firenze (Italy). 5:04 Enore Zaffiri, Studio di Musica Elettronica di Torino (SMET) Enore Zaffiri, “Musica Per Un Anno”(1968, excerpt) from Musica Per Un Anno (2008 Die Schachtel). Early work from this studio was mostly abstract and experimental. This piece is a terrific representation. All of the frequencies, their amplitude and durations were determined based on the mathematical analysis of 12 geometric figures derived around the 12 hours on a clock face. From the liner notes: “This electronic music is intended as a sound track for ambients. It develops over a duration of one year's time. The sound events change imperceptibly but continuously, in relation to the months, days, hours and minutes. Every instant has its unique music, which merges with the light, and the air of the ambient.” The original is 60 minutes long. 13:41 Lorenzo Ferrero, “Immigrati” (1971) from Musica Elettronica - Computer Music (1972 Compagnia Editoriale Pianeta). The third major Italian electronic music was the Studio Di Musica Elettronica located in Torino and founded in 1964 by Enore Zaffiri. This piece was recorded in 1971 after they had acquired and EMS Synthi. 6:22 Teresa Rampazzi, Gruppo Nuove Proposte Sonore (NPS), Padua Gruppo NPS (Rampazzi, Marega, Chiggio, Meiners, Alfonsi), “Ricerca 4” (1965) from Nuove Proposte Sonore 1965-1972 (2011 Die Schachtel). Monophonic track revolving around a group of sound objects that were manipulated using tape editing and processing. The reverberation of this work was created by putting a loudspeaker in a stairwell. There is also the unwanted thud of a door still in the work. 5:46 Gruppo NPS (Rampazzi, Marega, Mazurek), “Modulo 4” (1965) from Nuove Proposte Sonore 1965-1972 (2011 Die Schachtel). Monophonic track revolving around a group of sound objects that were manipulated using tape editing and processing. Experiments on signal impulses and their changing attacks and decay. of 3:48 Gruppo NPS (Rampazzi, Marega), “Freq. Mod. 2” (1965) from Nuove Proposte Sonore 1965-1972 (2011 Die Schachtel). Short bands of frequencies modulated by low-level signals abd brief, “violent impulses.” 6:26 Gruppo NPS (Rampazzi, Gracis), “Insiemi” (1965) from Nuove Proposte Sonore 1965-1972 (2011 Die Schachtel). A more lyrical, rather than systematic composition process is shown in this work. Adjectives such as calm, cathartic, and conflict were used to describe the outcome. 7:33 Opening background music: Pietro Grossi, “Unicum” from Musicautomatica (2003 Die Schachtel), excerpt.   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.

This Episode: When Computer Music was Experimental, 1951-1971 Early Recordings of Computer Synthesis Playlist Tones from Australia, 1951. All produced using the CSIR Mark 1 computer built at the CSIR's radiophysics division in Sydney. Alan Turing's computer music. 1951. Recording made of tones generated by the mainframe computer at the Computing Machine Laboratory in Manchester, England. Snippets of the tunes God Save the Queen, Baa, Baa Black Sheep, and Glenn Miller's swing classic In the Mood. Plus the voices of computer lab members listening to the sound as it was recorded. Original acetate recording from 1951 restored by University of Canterbury composer Jason Long and Prof Jack Copeland. Incidentally, synthesizing music …. Beat Canon (1960) by Dr. J. R. Pierce. From the album Music From Mathematics, Bell Telephone Laboratories. Numerology (1960) by Max Mathews. From the album Music From Mathematics, Bell Telephone Laboratories. Noise Study (1961) by James Tenney, from Music for Mathematics, Bell Labs, 1961 expanded edition. Bicycle Built For Two (Unaccompanied and Accompanied versions) (1963) From the demonstration record Computer Speech - Hee Saw Dhuh Kaet (He Saw The Cat), produced by Bell Laboratories. Computer Cantata, Prologue to Strophe III (1963) by Lejaren Hiller. From the album Computer Music From The University Of Illinois (1963). This work employed direct computer synthesis using an IBM 7094 mainframe computer and the Musicomp programming language. Lyric Variations For Violin And Computer (1965-1968) by J. K. Randall. From the record A Mitzvah For The Dead For Violin And Tape / Lyric Variations For Violin And Computer on Vanguard Records. Permutation of Five Sounds (1967) by Pietro Grossi. From the album GE-115 - Computer Concerto on the Italian General Electric label. Realized at Studio di Fonologia musicale di Firenze (Italy). Distributed in 1967 as a New Year's gift by Olivetti company. Mixed Paganini (1967) by Pietro Grossi, also from the album GE-115. HPSCHD by John Cage and Lejaren Hiller (1967-1969). The piece was written for Harpsichords and Computer-Generated Sound Tapes. January Tensions (excerpt) by Peter Zinovieff. Computer performed and composed in his private studio outside of London. Synthesism (1970) by Barry Vercoe. From the album Computer Music released on Nonesuch. Realized in the Computer Centers of Columbia and Princeton Universities using MUSIC 360 for the IBM 360 mainframe computer. Vercoe authored this musical programming language. Wishful Thinking About Winter (1970) by Wayne Slawson. From the album Voice of the Computer: New Musical Horizons (1970). Produced at Bell Telephone Laboratories. Eight-Tone Canon (1970) by J.R. Pierce. From the album Voice of the Computer: New Musical Horizons (1970). Produced at Bell Telephone Laboratories. Computer Suite From "Little Boy" (1970) by Jean Claude Risset. From the album Voice of the Computer: New Musical Horizons (1970). Produced at Bell Telephone Laboratories. The Earth's Magnetic Field by Charles Dodge (1971). From Nonesuch Records. Every sound in the piece was computed into digital form using the IBM/ 360 model 91 at the Columbia University Computer Center, and then converted into analog form at the Bell Telephone Laboratories. Computer says farewell, Music from Mathematics (1960).   The Archive Mix in which I play two additional tracks at the same time, to see what happens. Capriccio N. 5 (1967) by Pietro Grossi. From the album GE-115 - Computer Concerto on the Italian General Electric label. Computer synthesized sound. Pitch Variations (1960) by Newman Guttman. From the album Music From Mathematics, Bell Telephone Laboratories. From the album Music From Mathematics, Bell Telephone Laboratories.   Read my book: Electronic and Experimental Music (sixth edition), by Thom Holmes (2020).  

"Cammini e audiolibri" - Audiocatalogo numero 1 (8) - Gennaio 2020. "Il passaggio", di Pietro Grossi, letto da Gaetano Lizzio - Audible "Viaggi nell’Italia del Settecento", a cura di Maurizio Falghera, con la lettura di Eugenio Farn - Il Narratore "Meno male che il tempo era bello", di Florence Thinard, narrato da Massimo D’Onofrio - Camelozampa "Il pranzo di Babette", la firma di Karen Blixen e la lettura di Laura Morante - Emons

Andrea Sirna ovvero Pennywise, dialoga con Pietro Grossi e il suo "Orrore", Feltrinelli Editore. I temi affrontati sono la paura e il male, la finzione, le maschere e molto altro.

Per chi è in viaggio e per chi resta in città, ecco i Libri a Colacione di Radio 105 in versione estiva! Questa settimana: Orrore di Pietro Grossi e Homo deus di Yuval Noah Harari.Ti sei innamorato di un libro? Condividilo e raccontami perché è speciale e diventerà il prossimo BookBlister consiglio della settimana! Manda una mail a info@bookblister.comScopri tutte le recensioni sul blog http://www.bookblister.com E non perderti tutti i Libri da leggere http://www.bookblister.com/libri/libri-da-leggere

Per chi è in viaggio e per chi resta in città, ecco i Libri a Colacione di Radio 105 in versione estiva! Questa settimana: Orrore di Pietro Grossi e Homo deus di Yuval Noah Harari. Ti sei innamorato di un libro? Condividilo e raccontami perché è speciale e diventerà il prossimo BookBlister consiglio della settimana! Manda una mail a info@bookblister.com Scopri tutte le recensioni sul blog http://www.bookblister.com E non perderti tutti i Libri da leggere http://www.bookblister.com/libri/libri-da-leggere

Per chi è in viaggio e per chi resta in città, ecco i Libri a Colacione di Radio 105 in versione estiva! Questa settimana: Orrore di Pietro Grossi e Homo deus di Yuval Noah Harari.Ti sei innamorato di un libro? Condividilo e raccontami perché è speciale e diventerà il prossimo BookBlister consiglio della settimana! Manda una mail a info@bookblister.comScopri tutte le recensioni sul blog http://www.bookblister.com E non perderti tutti i Libri da leggere http://www.bookblister.com/libri/libri-da-leggere

Part two of a two-part series. Non-definitive dip into the history of electronic music. Featuring Finnish sound surfers of the unconscious Kemialliset Ystävät, Italian electronic composer Pietro Grossi, German electronic band Popol Vuh, Prog rock icon Robert Fripp, Yellow Magic Orchestra alum Ryuichi Sakamoto, Star Trek original series soundtrack composer Alexander Courage, post-punk innovators Suicide, […]

Padri e madri. Incontro con tre autori Feltrinelli: Pietro Grossi, Iaia Caputo e Paolo Di Paolo. Registrato a Bookcity 2016 - Pietro Grossi, Iaia Caputo e Paolo Di Paolo sono autori Feltrinelli

Quelli di Marco Missiroli con il libro, L'uomo nell'armadio e altri racconti che neanche io capisco, di Pietro Grossi. E quelli legati al cibo e all'Expo di Gianluca Biscalchin

Pseudo Nippon plus New Music You Are Hear Show Feb28th 08 The latest show has an exclusively recorded session from Pseudo Nippon. Plus new tracks from Luke Abbott, The David Yates Compartment , Ascoltare, Gorianopolis, Bedouin Ascent, and The Focus Group, plus Felix Kubin and archive gems from Pietro Grossi and A Raincoat. Brought to you by Magz Hall and Jim Backhouse check out our website www.youarehear.co.uk Subscribe to the podcast you can get emails alerts sent to you direct everytime we update the feed. feedback www.myspace.com/youarehear YAH 2002-6 live radio sessions CD now available as download album via wippit YAH 2002-6 live radio sessions CD Hear us on www.totallyradio.com Podcast of the week in Time Out London!! " excellent alternative music show" "Critics Choice" The Independent Feb 2008Podcast of the week Time Out London!! " excellent alternative music show" "Critics Choice" The Independent

Pseudo Nippon plus New Music You Are Hear Show Feb28th 08 The latest show has an exclusively recorded session from Pseudo Nippon. Plus new tracks from Luke Abbott, The David Yates Compartment , Ascoltare, Gorianopolis, Bedouin Ascent, and The Focus Group, plus Felix Kubin and archive gems from Pietro Grossi and A Raincoat. Brought to you by Magz Hall and Jim Backhouse check out our website www.youarehear.co.uk Subscribe to the podcast you can get emails alerts sent to you direct everytime we update the feed. feedback www.myspace.com/youarehear YAH 2002-6 live radio sessions CD now available as download album via wippit YAH 2002-6 live radio sessions CD Hear us on www.totallyradio.com Podcast of the week in Time Out London!! " excellent alternative music show" "Critics Choice" The Independent Feb 2008Podcast of the week Time Out London!! " excellent alternative music show" "Critics Choice" The Independent

  Here is a merry little podcast, featuring experimental holiday classics both new and old. Happy Holidays! Rare Frequency Podcast 15: A Very Rare Holiday Podcast 1 i8u, "Christmas Give Ideas" 60 Sound Artists Protest the War (ATAK) CD 2003 2 Maurice Blackburn, "Christmas Cracker (Caprice de Noël" Music of the N.F.B. (Creel Pone) CDr 2006 3 Pietro Grossi, "Untitled 02" Buon Natale 1967 e Felice Anno Nuevo (Creel Pone) CDr 2006 4 Stephan Mathieu & Ekkehard Ehlers, "Turkey Song" Heroin (Brombron) CD 2001 5 RLW, "Ihr Kinderlein" Merry Merry (Meuw Muzak) 7" 2003 6 Brian Whitman, "Radiant Bells" A Singular Christmas (Eigenradio) mp3 2004 7 Tod Dockstader, "Holiday Meltdown" Electronic Music (Creel Pone) CDr 2005 8 Hematic Sunsets with Okko Bekker, "Weihnachten im Aroma Club" Weihnachten im Aroma Club (Meuw Muzak) 7" 2004