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Episode 156 Chapter 17, John Cage in the United States. 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: EARLY ELECTRONIC MUSIC IN THE UNITED STATES Time Track Time Start Introduction –Thom Holmes 01:25 00:00 1.     Louis and Bebe Barron, “The Bells of Atlantis” (1952), soundtrack for a film by Ian Hugo based on the writings of his wife Anaïs Nin (who's voice you will hear). Tape composition produced at the Barron's studio (New York). 09:01 01:38 2.     Williams Mix (1952) by John Cage. Tape composition produced at the Barrons' studio (New York). 05:42 10:40 3.     Otto Luening and Vladimir Ussachevsky, “Moonflight” (1952) Tape composition produced at the composer's Tape Music Center at Columbia University, the precursor of the Columbia-Princeton Electronic Music Center. 02:54 16:20 4.     Henry Jacobs, “Sonata for Loudspeakers” (1953-54). Tape composition produced at radio station KPFA-FM in Berkeley. 09:29 19:12 5.     Jim Fassett, track “B2” (Untitled) (1955). From the album, Strange To Your Ears. Tape composition produced at CBS radio. 08:15 28:38 6.     Harry F. Olsen, “The Well-Tempered Clavier: Fugue No. 2” (Bach), “Nola” (Arndt) and “Home, Sweet Home” (1955). Disc composition created on RCA Mark I Music Synthesizer at Princeton University. 05:26 36:54 7.     John Cage, “Fontana Mix” (1958). Tape composition produced by Cage at Studio di Fonologia of the Italian Radio (Milan). 11:33 42:33 8.     Tod Dockstader, “Drone” (1962). Tape composition produced privately by the composer (Los Angeles). 13:24 54:06 9.     Kenneth Gaburo, “Lemon Drops (Tape Alone)” (1965). Tape composition produced at the studio for Experimental Music of the University of Illinois. 02:52 01:07:30 10.   Jean Eichelberger Ivey, “Pinball” (1965) from Electronic Music (1967 Folkways). Tape composition produced at the Electronic Music Studio of Brandeis University. 06:12 01:10:20 11.   Pauline Oliveros, “Bye Bye Butterfly” (1965). Tape composition produced at the San Francisco Tape Music Center. 08:05 01:16:32 12.   Olly W. Wilson, “Cetus” (1967). Tape composition produced at the studio for Experimental Music of the University of Illinois. 09:18 01:24:36   Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.

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Episode 99 Crosscurrents in Electronic Tape Music in the United States Playlist Louis and Bebe Barron, “Bells of Atlantis” (1952), soundtrack for a film by Ian Hugo based on the writings of his wife Anaïs Nin, who also appeared in the film. The Barrons were credited with “Electronic Music.” The Barrons scored three of Ian Hugo's short experimental films and this is the earliest, marking an early start for tape music in the United States. Bebe told me some years ago about a work called “Heavenly Menagerie” that they produced in 1950. I have written before that I think this work was most likely the first electronic music made for magnetic tape in the United States, although I have never been able to find a recording of the work. Bells of Atlantis will stand as an example of what they could produce in their Greenwich Village studio at the time. They were also engaged helping John Cage produce “Williams Mix” at the time, being recordists of outdoor sounds around New York that Cage would use during the process of editing the composition, which is described below. The Forbidden Planet soundtrack, their most famous work, was created in 1956. 8:59 John Cage, “Williams Mix” (1952) from The 25-Year Retrospective Concert Of The Music Of John Cage (1959 Avakian). Composed in 1952, the tape was played at this Town Hall concert a few years later. Premiered in Urbana, Ill., March 22, 1953. From the Cage database of compositions: “This is a work for eight tracks of 1/4” magnetic tape. The score is a pattern for the cutting and splicing of sounds recorded on tape. Its rhythmic structure is 5-6-16-3-11-5. Sounds fall into 6 categories: A (city sounds), B (country sounds), C (electronic sounds), D (manually produced sounds), E (wind produced sounds), and F ("small" sounds, requiring amplification). Pitch, timbre, and loudness are notated as well. Approximately 600 recordings are necessary to make a version of this piece. The compositional means were I Ching chance operations. Cage made a realization of the work in 1952/53 (starting in May 1952) with the assistance of Earle Brown, Louis and Bebe Barron, David Tudor, Ben Johnston, and others, but it also possible to create other versions.” This was a kind of landmark work for John as he explored the possibilities of working with the tape medium. It is the only work from this period, created in the United States, for which there is an original recording of a Cage realization. He also composed “Imaginary Landscape No. 5” in 1952 for 42-disc recordings as a collage of fragments from long-playing records recorded on tape (he preferred to use jazz records as the source), put together with the assistance of David Tudor. Though some modern interpretations exist, there is no recording from the 1950s of a Cage/Tudor realization so I am unable to represent what it would have been like at that time. 5:42 Otto Luening and Vladimir Ussachevsky, “Moonflight” (1952) from Tape Music An Historic Concert (1968 Desto). This record documents tape pieces played at perhaps the earliest concert of American tape music at the Museum of Modern Art, New York, October 28, 1952. Realized at the composer's Tape Music Center at Columbia University, the precursor of the Columbia-Princeton Electronic Music Center. 2:54 Otto Luening, “Fantasy in Space” (1952) from Tape Music An Historic Concert (1968 Desto). Realized at the composer's Tape Music Center at Columbia University, the precursor of the Columbia-Princeton Electronic Music Center. 2:51 Otto Luening and Vladimir Ussachevsky, “Incantation” (1953) from Tape Music An Historic Concert (1968 Desto). This record documents tape pieces played at perhaps the earliest concert of American tape music at the Museum of Modern Art, New York, October 28, 1952. Realized at the composer's Tape Music Center at Columbia University, the precursor of the Columbia-Princeton Electronic Music Center. 2:34 Henry Jacobs, “Sonata for Loudspeakers” (1953-54) from Sounds of New Music (1958 Folkways). “Experiments with synthetic rhythm” produced by Henry Jacobs who worked at radio station KPFA-FM in Berkeley. Jacobs narrates the track to explain his use of tape loops and recorded sound. 9:29 Jim Fassett, track “B2” (Untitled) from Strange To Your Ears - The Fabulous World of Sound With Jim Fassett (1955 Columbia Masterworks). “The fabulous world of sound,” narrated with tape effects, by Jim Fassett. Fassett, a CBS Radio musical director, was fascinated with the possibilities of tape composition. With this recording, done during the formative years of tape music in the middle 1950s, he took a somewhat less daring approach than his experimental counterparts, but a bold step nonetheless for a national radio audience. He hosted a weekend program called Strange to Your Ears to showcase these experiments and this album collected some of his best bits. 8:15 Harry F. Olsen, “The Well-Tempered Clavier: Fugue No. 2” (Bach) and “Nola” (Arndt) and “Home, Sweet Home” from The Sounds and Music of the RCA Electronic Music Synthesizer (1955 RCA). These “experimental” tracks were intended to demonstrate the range of sound that could be created with RCA Music Synthesizer. This was the Mark I model, equipped with a disc lathe instead of a tape recorder. When it was upgraded and called the Mark II in the late 1950s, it became the showpiece of the Columbia-Princeton Electronic Music Center. Here we listen to three tunes created by Harry F. Olsen, one of the inventors, in the style of a harpsichord, a piano, and “an engineer's conception of the music.” 5:26 Milton Babbitt, “Composition For Synthesizer” (1960-61) (1968 Columbia). Babbitt was one of the only composers at the Columbia-Princeton Electronic Music Center who composed and produced works based solely on using the RCA Music Synthesizer. Most others took advantage of other tape processing techniques found in the studio and not controlled by the RCA Mark II. It took him quite a long time to work out all of the details using the synthesizer and his meticulous rules for composing serially. On the other hand, the programmability of the instrument made it much more possible to control all the parameters of the sound being created electronically rather than by human musicians. This work is a prime example of this kind of work. 10:41 Tod Dockstader, “Drone” (1962) from Drone; Two Fragments From Apocalypse; Water Music (1966 Owl Records). Self-produced album by independent American composer Dockstader. This came along at an interesting period for American elecgtronic music, sandwiched between the institutional studio work being done at various universities and the era of the independent musician working with a synthesizer. Dockstader used his own studio and his own devices to make this imaginative music. This was one of a series of four albums featuring Dockstader's music that were released on Owl in the 1966-67 timeframe. They have all been reissued in one form or another. Here is what Dockstader himself wrote about this piece: “Drone, like many of my other works, began life as a single sound; in this case, the sound of racing cars. But, unlike the others, the germinal sound is no longer in the piece. It's been replaced by another a guitar. I found in composing the work that the cars didn't go anywhere, except, seemingly, in circles. The sound of them that had interested me originally was a high to low glissando the Doppler effect. In making equivalents of this sound, I found guitar glissandos could be bent into figures the cars couldn't. . . . After the guitar had established itself as the base line of the piece, I began matching its sound with a muted sawtooth oscillator (again, concrete and electronic music: the guitar being a mechanical source of sound, the oscillator an electronic source). This instrument had a timbre similar to the guitar, with the addition of soft attack, sustained tones, and frequencies beyond the range of the guitar. . . . The effect of the guitar and the oscillator, working together, was to produce a kind of drone, with variations something like the procedure of classical Japanese music, but with more violence. Alternating violence with loneliness, hectic motion with static stillness, was the aim of the original piece; and this is still in Drone, but in the process, the means changed so much that, of all my pieces, it is the only one I can't remember all the sounds of, so it continues to surprise me when I play it.” (From the original liner notes by Dockstader). 13:24 Wendy Carlos, “Dialogs for Piano and Two Loudspeakers” (1963) from Electronic Music (1965 Turnabout). This is an early recording of Wendy, pre-Switched-on Bach, from her days as a composer and technician. In this work, Carlos tackles the task of combining synthesized sounds with those of acoustic instruments, in this case the piano. It's funny that after you listen to this you could swear that there were instruments other than the piano used, so deft was her blending of electronic sounds with even just a single instrument. 4:00 Gordon Mumma, “Music from the Venezia Space Theater” (1963-64) (1966 Advance). Mono recording from the original release on Advance. Composed at the Cooperative Studio for Electronic Music in Ann Arbor, Michigan. This was the studio created by Mumma and fellow composer Robert Ashley to produce their electronic tape works for Milton Cohen's Space Theater on Ann Arbor, which this piece tries to reproduce. The original was a quad magnetic tape. It was premiered at the 27th Venezia Bianale, Venice, Italy on September 11, 1964 and comprised the ONCE group with dancers. 11:58 Jean Eichelberger Ivey, “Pinball” (1965) from Electronic Music (1967 Folkways). Realized at the Electronic Music Studio of Brandeis University. This work was produced in the Brandeis University Electronic Music Studio and was her first work of electroacoustic music. In 1964 she began a Doctor of Musical Arts program in composition, including studies in electronic music, at the University of Toronto and completed the degree in 1972. Ivey founded the Peabody Electronic Music Studio in 1967 and taught composition and electronic music at the Peabody Conservatory of Music until her retirement in 1997. Ivey was a respected composer who also sought more recognition for women in the field. In 1968, she was the only woman composer represented at the Eastman-Rochester American Music Festival. Her work in electronic music and other music was characteristic of her general attitude about modern composing, “I consider all the musical resources of the past and present as being at the composer's disposal, but always in the service of the effective communication of humanistic ideas and intuitive emotion.” 6:12 Pauline Oliveros, “Bye Bye Butterfly” (1965) from New Music for Electronic and Recorded Media (1977 1750 Arch Records). This was composed at the San Francisco Tape Music Center where so many west coast composers first found their footing: Terry Riley, Steve Reich, Jon Gibson, Pauline Oliveros, Stuart Dempster, Morton Subotnick, Ramon Sender all did work there around this time. Oliveros was experimenting with the use of tape delay in a number of works, of which “Bye Bye Butterfly” is a great example. 8:05 Gordon Mumma, “The Dresden Interleaf 13 February 1945” (1965) from Dresden / Venezia / Megaton (1979 Lovely Music). Composed at the Cooperative Studio for Electronic Music (Ann Arbor, Michigan). Remixed at The Center for Contemporary Music, Mills College (Oakland, California). This tape piece was premiered at the sixth annual ONCE Festival in Ann Arbor where Mumma configured an array of sixteen “mini speakers” to surround the audience and project the 4-channel mix. The middle section of the piece contains the “harrowing roar of live, alcohol-burning model airplane engines.” (Mumma) This anti-war piece was presented in the 20th anniversary of the Allied fire-bombing of Dresden near the end of World War II. 12:14 Kenneth Gaburo, “Lemon Drops (Tape Alone)” (1965) from Electronic Music from the University of Illinois (1967 Heliodor). From Gaburo: “Lemon Drops” is one of a group of five tape compositions made during 1964-5 referencing the work of Harry Partch. All are concerned with aspects of timbre (e.g., mixing concrete and electronically generated sound); with nuance (e.g., extending the expressive range of concrete sound through machine manipulation, and reducing machine rigidity through flexible compositional techniques); and with counterpoint (e.g., stereo as a contrapuntal system).”(see). 2:52 Steve Reich, “Melodica” (1966) from Music From Mills (1986 Mills College). This is one of Reich's lesser-known phased loop compositions from the 1960s. It is “composed of one tape loop gradually going out of phase with itself, first in two voices and then in four.” This was Reich's last work for tape before he transitioned to writing instrumental music. 10:43 Pril Smiley, “Eclipse” (1967) from Electronic Music, Vol. IV (1969 Turnabout). The selections are works by the winners of the First International Electronic Music Competition - Dartmouth College, April 5, 1968. The competition was judged by composers Milton Babbitt, Vladimir Ussachevsky, and George Balch Wilson. The winner was awarded a $500 prize. Pril Smiley was 1st finalist and realized “Eclipse” at the Columbia-Princeton Electronic Music Center. Smiley had this to say about the work: “Eclipse” was originally composed for four separate tracks, the composer having worked with a specifically-structured antiphonal distribution of compositional material to be heard from four corners of a room or other appropriate space. Some sections of “Eclipse” are semi-improvisatory; by and large, the piece was worked out via many sketches and preliminary experiments on tape: all elements such as rhythm, timbre, loudness, and duration of each note were very precisely determined and controlled. In many ways, the structure of “Eclipse” is related to the composer's use of timbre. There are basically two kinds of sounds in the piece: the low, sustained gong-like sounds (always either increasing or decreasing in loudness) and the short more percussive sounds, which can be thought of as metallic, glassy, or wooden in character. These different kinds of timbres are usually used in contrast to one another, sometimes being set end to end so that one kind of sound interrupts another, and sometimes being dovetailed so that one timbre appears to emerge out of or from beneath another. 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.” (From the original liner notes by Smiley.) 7:56 Olly W. Wilson, “Cetus” (1967) from Electronic Music, Vol. IV (1969 Turnabout). The selections are works by the winners of the First International Electronic Music Competition - Dartmouth College, April 5, 1968. The competition was judged by composers Milton Babbitt, Vladimir Ussachevsky, and George Balch Wilson. The winner was awarded a $500 prize. Olly W. Wilson was the competition Winner with “Cetus.” It was realized in the studio for Experimental Music of the University of Illinois. Olly Wilson wrote about the work: “the compositional process characteristic of the “classical tape studio” (the mutation of a few basic electronic signals by means of filters, signal modifiers, and recording processes) was employed in the realization of this work and was enhanced by means of certain instruments which permit improvisation by synthesized sound. Cetus contains passages which were improvised by the composer as well as sections realized by classical tape studio procedures. The master of this work was prepared on a two channel tape. Under the ideal circumstances it should be performed with multiple speakers surrounding the auditor.” (Olly Wilson. The Avant Garde Project at UBUWEB, AGP129 – US Electronic Music VIII | Dartmouth College Competition (1968-70). 9:18 Alice Shields, “The Transformation of Ani” (1970) from Columbia-Princeton Electronic Music Center Tenth Anniversary Celebration (1971 CRI). Composed at the Columbia-Princeton Electronic Music Center. Alice Shields explained, “The text of “The Transformation of Ani” is taken from the Egyptian Book of the Dead, as translated into English by E. A. Budge. Most sounds in the piece were made from my own voice, speaking and singing the words of the text. Each letter of the English translation was assigned a pitch, and each hieroglyph of the Egyptian was given a particular sound or short phrase, of mostly indefinite pitch. Each series, the one derived from the English translation, and the one derived from the original hieroglyphs, was then improvised upon to create material I thought appropriate to the way in which I wanted to develop the meaning of the text, which I divided into three sections.” (see). 8:59 Opening background music: John Cage, Fontana Mix (1958) (1966 Turnabout). This tape work was composed in 1958 and I believe this is the only recorded version by Cage himself as well as the only Cage version presented as a work not in accompaniment of another work. An earlier recording, from the Time label in 1962, feature the tape piece combined with another Cage work, “Aria.” This version for 2 tapes was prepared b Cage in February 1959 at the Studio di Fonologia in Milan, with technical assistance from Mario Zuccheri. From the Cage Database website. “This is a composition indeterminate of its performance, and was derived from notation CC from Cage's Concert for Piano and Orchestra. The score consists of 10 sheets of paper and 12 transparencies. The sheets of paper contain drawings of 6 differentiated (as to thickness and texture) curved lines. 10 of these transparencies have randomly distributed points (the number of points on the transparencies being 7, 12, 13, 17, 18, 19, 22, 26, 29, and 30). Another transparency has a grid, measuring 2 x 10 inches, and the last one contains a straight line (10 3/4 inch). By superimposing these transparencies, the player creates a structure from which a performance score can be made: one of the transparencies with dots is placed over one of the sheets with curved lines. Over this one places the grid. A point enclosed in the grid is connected with a point outside, using the straight line transparency. Horizontal and vertical measurements of intersections of the straight line with the grid and the curved line create a time-bracket along with actions to be made.” 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.

01. Skitty - Freedom (Foundation X) 02. Atlas & K Super - Mass Effect (Forthcoming Rigatoni) 03. B-KEY - Alchemy (Scientific Wax) 04. Mindmapper - Drizzle Drop (Break-Fast Audio) 05. Jordan Williams - Royal Lane (Rigatoni) 06. Ontology - Bust Up Tha Place (Yeska Beatz) 07. Marc OFX - Jazzin' (Forthcoming Rigatoni) 08. Mr Sensi & Tim Reaper - Lost City (Future Retro) 09. Fluidity - Dream To Become (Metalheadz) 10. The Truper - Volume 1A (Basement Records) 11. AceMo - Mind Temple (Self-release/Bandcamp) 12. Big Bud - Source Of Inspiration (Paradox Music) 13. DJ Trax - The Path Less Travelled (Transmute Recordings) 14. NRG Club- Anasi (Rigatoni) 15. Krugah - Meditation Redux Take One (Forthcoming Rigatoni) 15. Comfort Zone & Tim Reaper - Emerald Dreams (Future Retro)

Episode 91 The Silent Episode Playlist Morton Feldman, “Intersection” (1953) from First Recordings: 1950s (1999 Mode). Feldman, like Cage, had already been a proponent of including silence in his pieces. Feldman was a part of the Project of Music for Magnetic Tape (1951 to 1954), an artist's collective founded by Cage to explore experiments in magnetic tape music. From this period came several works, the most famous of which was Williams Mix (1952) by Cage. For Williams Mix, Cage commissioned the recording of hundreds of taped sounds by Louis and Bebe Barron and then specified how to splice them together using a daunting 192-page graphical composition created using chance operations. Cage conceived the work for eight tracks of magnetic tape played simultaneously. The other members of the collective, in addition to helping edit Williams Mix, also created some unique works of their own using the same library of sounds. Feldman was one of these composers but took a decidedly different approach than Cage. For Intersection, Feldman used a graphic score composed of a grid, a method he had been testing for various instrumental works such as Intersections No. 1 for Piano (1951). The score could be likened to a sheet of graph paper with one row assigned to each of the eight channels. Each square, or cell, of each row represented a unit of time to be occupied by either a sound or silence. The sounds were assigned only as numbers representing the lengths of tape snippets to be used, thus regulating the duration of individual sounds. The sequence and simultaneity of the audio was dictated by the “intersection” of sounds and silences across the columns of the score. The realization of the piece was left in the hands of Cage and Earle Brown, who assembled the tape segments by following the grid score. The choice of sounds drawn from the tape library was left to the executors of the score. Whereas Cage had not actually specified the use of silence in the score of Williams Mix, Feldman clearly had, and this is evident from the result. Speaking about the piece later, Feldman famously said that he “loathed the sound of electronic music.” He disliked the labor of executing a piece by cutting up magnetic tape and didn't feel the result was justifiably unique. He also said, “John [Cage] says that experimental music is where the outcome cannot be foreseen. . . . After my first adventure in electronic music, its outcome was foreseen.” 3:24 John Cage Variations I from Darmstadt Aural Documents Box 2 – Communication (2012 NEOS). Two Pianos, Electronics, Radio Sets, David Tudor, John Cage. This German disc is part of the Darmstadt Aural Documents projects and features recordings from 1958. This track was of the European premiere of Variations 1 and was recorded at the International Ferienkurse für Neue Musik Darmstadt September 3, 1958. This track is enlightening because it not only contains a work by Cage with purposefully scored silences, albeit by chance operations, but is also a live recording with an audience. You can clearly hear how the audience responds during the silent passages, mostly in their bemusement. Whereas the implied humor was unintentional, I often experienced this phenomenon while seeing a Cage performance. I wanted to include this as an example of what can happen when silence becomes part of a live performance. Chance operations were used to determine the placement and duration of silences. 8:50 John Cage, “WBAI” (1960) from Early Electronic And Tape Music (2014 Sub Rosa). Sine wave oscillator, record player, synthesizer, radio. Description of the piece from the score in the Edition Peters catalogue (1962) of Cage's works: “Certain operations may be found impossible e.g., 3 or 4 at once. Let the operator do what he can without calling in assistants.” Chance operations were used to determine the placement and duration of silences. This performance for sine wave oscillator, record player, synthesizer, radio. Not performed by Cage and recorded in 2013 by participants following the score. Originally presented on WBAI (NY) as a solo work scored for performance with Cage's lecture ("Where Are We Going? And What Are We Doing?"). From the comments of the score: “This composition may be used in whole or in part by an operator of machines.” Personnel on this disc include, Square-wave oscillator, Auxiliary Sounds, Radio, Robert Worby; Performer, Langham Research Centre Auxiliary Sounds, Cassette, Open-reel tape, Radio, Iain Chambers; Synthesizer, Auxiliary Sounds, Spoken Word, Philip Tagney; Turntables, Auxiliary Sounds, Open-reel tape, Felix Carey. 7:04 John Cage, David Tudor, “Klangexperimente (Sound Experiment)” 1963 from Siemens-Studio Für Elektronische Musik (1998 Siemens Kultur Programm). Interesting collection of tracks by a variety of artists invited to explore the technological possibilities of the early "Studio for Electronic Music" built and run by Siemens since 1956 in Munich and Ulm. In the case of the Cage piece, both Cage and Tudor programmed this work using punch cards, an early computer control device. Chance operations were used to determine the placement and duration of silences. 1:58 Henri Pousseur, “Scambi (Exchanges)” (1957) from Panorama Des Musiques Expérimentales (1964 Philips) is an electronic music tape composition by the Belgian composer , realized in 1957 at the Studio di Fonologia musicale di Radio Milano. Pousseur fluidly added silence patches throughout this piece, using them to create tension due to their unpredictable nature. This is an analog recording, so the silences include an abundance of tape hiss. 6:27 Ton Bruynèl, “Reflexen (Reflexes)” (1961) from Anthology of Dutch Electronic Tape Music: Volume 1 (1955-1966) (1978 Composer's Voice). Recorded in Bruynèl private electronic music studio. Another tape work that shows the potential for splicing in silence as a tool of the composer. The silences are carefully added from about the 2:14 to 4:00 mark to underscore the accelerating pace of the music. Note that the original recording has rumble from what sounds like a turntable, plus tape hiss, so the “silences” are not as abject as they are in digital recordings. 4:41 MEV (Musica Elettronica Viva), “Spacecraft” from Live Electronic Music Improvised (1970 Mainstream). Performers, Alan Bryant, Alvin Curran, Frederic Rzewski, Ivan Vandor, Richard Teitelbaum (Moog Modular synthesizer). The liner notes described the following editing process for this album that includes the random insertion of silent passages within the recorded live tracks: “The tape has been edited and interspersed with silence in accordance with a random number programme to give a representative cross-section of a concert lasting two hours.” 19:50 Maggi Payne, “Scirocco” from Crystal (1986 Lovely Music Ltd.). Composed, engineered, performed by Maggi Payne. This beautiful piece of ghostly, haunting sounds is long enough to create an expectation of a continuous soundscape, only to two drop off in two spots to present long silent or nearly silent passages. 10:26 Mika Vainio, “In a Frosted Lake” from Aíneen Musta Puhelin = Black Telephone Of Matter (2009 Touch). Produced and recorded in Berlin 2008. This piece seems to be about amplitude and inaudible frequencies, frameworked by silences. There is a pattern of eight peak tones from the start to the end of the piece. In between these peaks are quieter sounds and silences, with a tension that leans toward achieving a silent state. 5:53 Giancarlo Mangini, “September 14, 2020, from 4.50a.m. to 5.02a.m. ...and remember what peace there may be in silence” from Electronic Music Philosophy, Vol. 27: Silence (2020 Bandcamp). From the twenty-seventh collection of tracks from the collective known as Electronic Music Philosophy (Tustin, California) came this disc devoted to works composed using silence as a principal technique. In this work, there is a steady pattern of silences from start to finish, but the duration of the silences gradually increases in many instances as the work progresses. 11:38 Richard Chartier, “Herein, Then” from Other Materials(2002 3Particles). This disc includes is a compilation of tracks and unreleased works from 1999-2001. Limited to 500 copies. Composed, produced, programmed, and performed by Richard Chartier. As with many of his tracks, Chartier explores the outer reaches of human hearing. Many of the sounds in this track cannot be heard when played on loudspeakers with even moderate background noise. There are actually only two spots of abject, digital silence in this track, although due to the low frequency and amplitude of many of the other electronic tones, you might think there in nothing there. This is a clever, psychological trick. 5:02 Marina Rosenfeld, “Formal Arrangement” from Plastic Materials (2009 Room40). Composed and performed by Marina Rosenfeld. Among the various commissions found on this disc is this solo electronic work. A pattern of silences in which 25 evenly-spaced sound events, mostly gong- or bell-like tones, are each followed by a fade and then a discrete, abject silence. 2:35 Tetsu Inoue, “Super Digital” from Fragment Dots (2000 Tzadik). Composed, Programmed by Tetsu Inoue. I knew Tetsu and he would probably be embarrassed to know that I counted every conceivable “digital” silence in this special piece of music. There are 293 of them that I think one can perceive. Many are short, but because silence is an important structural component of this work, I thought it warranted a fresh listen. The longest of these silences is but 2.5 seconds. The shortness of all the tones, either audible or silent, works together to form a unity. 3:39 Miki Yui, “Balloon” from Small Sounds (1999 BMP Lab). Composed, engineered, and performed by Miki Yui. Recorded in Cologne, Germany. The composer wrote, “small sounds are to merge and fuse with your acoustic environment—please play in a transparent level; in different atmosphere.” In this piece, the silences are placed in the middle of sounds to break up an otherwise continuous noise. 2:57 Opening background music: Mooshzoom, “Silence” from Electronic Music Philosophy, Vol. 27: Silence (2020 Bandcamp). From the twenty-seventh collection of tracks from the collective known as Electronic Music Philosophy (Tustin, California) came this disc devoted to works composed using silence as a principal technique. Plus clips from the following as examples: Amelie Lens, “Resonance” from Contradiction (2017 Second State); Nora En Pure, “Norma Jean” from Come With Me (2013 Enormous Tunes). 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.  

1. R3HAB & Mike Williams - Sing Your Lullaby2. Quintino - Tom's Diner3. Mike Williams & Robbie Mendez - Ambush4. Firebeatz x DAMANTE - What Happens Here5. Afrojack, Steve Aoki & Miss Palmer - No Beef (R3HAB Remix)6. Cedric Gervais x Joel Corry - MOLLY7. Tiësto & Solardo feat. Poppy Baskcomb - I Can't Wait8. Retrika & Alex Mueller - Fallen Love9. Gabry Ponte, R3HAB, Timmy Trumpet - Call Me10. David Guetta & Bebe Rexha - I'm Good (Blue) (R3HAB Remix)11. Mike Williams - Best Part Missing12. Mike Williams x Retrovision - Supernova13. Nicky Romero, DubVision x Philip Strand - Stay A little Longer14. Tim Hox - Ebrius (I'm gonna get fed up tonight)15. Chemical Surf, Ghabe, Leiru - Lapada16. R3HAB & Lukas Graham - Most People (R3HAB VIP Remix)17. Mike Williams feat. RYVM - When The Sun Is Gone

Vinny Vibe Good Vibes Radio Hosted on Acast. See acast.com/privacy for more information.

TÂCHES - In my soulChris Malinchak- LoreFrancis Inferno Orchestra- A2. HarmonyKerri Chandler - See the lightDemarkus Lewis - Stand no moreAtlows Took my loveMarotti - Do it rightJeremiah, Don Disco- The Whistle SongDam Swindle - body controlThe glimmers - u rocked my world (Pete HerbertKylie Auldist, Tony Garcia - Peanut Butter (Tony's Deep spread recipe)Human By Nature - That OG SampleOli's Mix

00:00 - 30 min / Cut Snake mix ►CONNECT WITH CUT SNAKE www.instagram.com/cutsnake www.beatport.com/artist/cut-snake/281144 30:00 - 80:00 @Twilliamsmusic Mix ►CONNECT WITH T.Williams www.instagram.com/twilliamsmusic Tunes: https://www.beatport.com/artist/t-williams/144181 https://bandcamp.com/twilliamsmusic Lock into "Cut Snake & Mates." every month to hear the tunes i've been hammering on the road, unreleased heaters, and whatever i'm digging at the time & always a huge guest mix, this time from UK House and Garage legend, T.Williams

Part 1 - ARA-U, Venezuela/UK - interview and selections T/error & 4th Genome - Bass Agenda Intro ARA-U and Radioactive Man - Sounds Like Prince ARA-U - 2028 Trigger - Stratosphere LFO - LFO Underground Resistance - Swamp Thing ARA-U and Radioactive Man - Datatheft ARA-U and Radioactive Man - The Houghton Blues The Dice feat Daddy Freddy & General Levy - Foundation ARA-U - Black Hole ARA-U - Battle Royale ARA-U - Viral XKP Ben Pest - Mouth Lawson Carl Finlow - Syncopated Automated ARA-U - Who's in Control? New music roundup: Co-Accused - Psychonaut Society Jostronamer - Artificial Intelligence Blixaboy - Hollow is the Electronic Heart Plant43 - Forcefield Deactivation Part 2 - Dez Williams, UK, guest mix Hayflick Limit - Dopplereffekt Magellan Probe - Morphology Nimbostratus - Zobol Unordered Frequencies - Isolated Material Outlaw - Fresko No Trix - Stranded Wires BFDM - Yarn Init RESONANCE - Slava Gubarev False Routes - Serge Geyzel Purple Patches - Mazzula Aster's Elek - 5713 Danger Close - False Persona Bitofbaataa - Dez Williams Dark Attack - Robodroid Destroy (Go Nuclear Remix) - The Droid Psycho - Lectromagnetique Blocks for Music (Terrestrial Access Network Remix) - Atix Automatic Sex - Taiko Semi Global Missile - X-Truder Rigid Body - XY0815 & Int Main The Bill - Next Neighbours In Vein - Blackwater Hardware Narra Mine - Genaside II Not Another Werk Track - Gene Richards Jr The Power - LMAJOR

Valy Mo & Highup - The Rise LOOPERS, SHAIROX - Duality Matt Nash & Mojjo - Kryptonite Madonna vs. Madison Mars - Celebration (Kastra "Dark Side" Edit) Don Diablo - Eyes Closed Body Ocean - Pop Your Hip NØ SIGNE - Closer Porter Robinson & Madeon - Shelter (RetroVision Flip) Brohug - Look At You (Original Mix) Nicky Romero & Mike Williams & Amba Shepherd - Dynamite Hardwell feat. Conor Maynard & Snoop Dogg - How You Love Me (Mike Williams Remix) Mike Williams - Give It Up Mike Williams feat. Moa Lisa vs. Earth, Wind & Fire - Make You Mine vs. September AC Slater x Curbi vs. Michael Jackson - Navigator vs. Somebody's Watching Toby Romeo & Felix Jaehn & FAULHABER - Where The Lights Are Low (Mike Williams Remix) Topic & A7S - Breaking Me (Mike Williams Remix) Mike Williams & Mesto - Wait Another Day Mike Williams vs. Avicii feat. Aloe Blacc - Day or Night vs. SOS Mike Williams X Curbi - Take Me There Mike Williams - Get Dirty

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Broken Biskitz hosted by Bruce Q and the Liquid Fusion crew with one of the most recent musical genres to come from the UK, Broken, which is a fusion of D&B, House, Jazz, HipHop and Funk.  It is known for its vibrant, afro-futuristic dance music for the 21st century B-boys, Funksters, Breakers and Jazz Heads.Catch the Brand New show every Saturday 10pm (UK) 5pm (NY) 2pm (LA)

I AM LDR. O.D. Williams Guest Mix by Love Dance Radio

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Tom and I discuss playing with electronics in the 1970s, his high-school radio station, some history of synths, starting SoundHack, working with Make Noise, and perspectives on gear of the past and using the best of their ideas to innovate today. This is episode 1 in a 2-part series. Bio: Tom Erbe has had an important role in American experimental and electronic music over the last 30 years. In addition to creating the pioneering and widely used program SoundHack and many audio plugins, he is one of the most sought after and respected sound engineers for contemporary music. Recent activities include performing the first new version of John Cage’s “Williams Mix” since it’s original interpretation in 1952, and developing five new Eurorack synthesizer modules for Make Noise Music: the Echophon, the Erbe-Verb, the tELHARMONIC, the Morphagene, and the Mimeophon. Tom Erbe is a professor of electronic music at UC San Diego. Tom's site, Soundhack (https://www.soundhack.com/) The latest collaboration with Soundhack and Make Noise: The Mimeophon (http://www.makenoisemusic.com/modules/mimeophon) Morphagene/Marbles improv by Johno Wells (https://soundcloud.com/user-443398869/morphagene-and-marbles-improv-1) Episode Sponsor: Boutique Pedal NYC (http://www.boutiquepedalnyc.us/)

In our follow-up episode to part 1, we keep the conversation going with Tom Erbe. In part 2, Tom talks about making music, patience in understanding art, what he's currently working on, and we listen to a clip from his new version of James Tenney's: For Ann (rising). Prepare your ears... This is episode 2 in a 2-part series. Bio: Tom Erbe has had an important role in American experimental and electronic music over the last 30 years. In addition to creating the pioneering and widely used program SoundHack and many audio plugins, he is one of the most sought after and respected sound engineers for contemporary music. Recent activities include performing the first new version of John Cage’s “Williams Mix” since it’s original interpretation in 1952, and developing five new Eurorack synthesizer modules for Make Noise Music: the Echophon, the Erbe-Verb, the tELHARMONIC, the Morphagene, and the Mimeophon. Tom Erbe is a professor of electronic music at UC San Diego. Tom's site, Soundhack (https://www.soundhack.com/) The latest collaboration with Soundhack and Make Noise: The Mimeophon (http://www.makenoisemusic.com/modules/mimeophon) Tom's most recent project at UCSD (http://synthnotes.ucsd.edu) Tom performed on this Alvin Lucier piece: So You (https://forcedexposure.com/Catalog/lucier-alvin-so-you-hermes-orpheus-eurydice-cd/BT.044CD.html) The original version of James Tenney - For Ann (rising) (1969) (https://www.youtube.com/watch?v=bbKbE8y95sg) Episode Sponsor: Boutique Pedal NYC (http://www.boutiquepedalnyc.us/)

The Gallery #G169 www.thegallery-club.co.uk

The official BCM podcast from the award winning superclub in Mallorca. Each week we’ll be bringing you exclusive mixes from the worlds biggest dance acts. Tracklist:Swedish House Mafia - Leave The World Behind 2017 (Valiant Kings & Sonny Vice Remix)Philip George - Losing My Mind (ft. Saint Raymond) (Club Edit)Avicii ft. Rita Ora - Lonely Together DJ Licious RemixPixie Lott ft. Stylo G - Won't Forget You (Mandal & Forbes Radio Edit)J Balvin - Mi Gente (Sunnery James & Ryan Marciano remix)L'Tric - ‘Why' (Club Mix) [Neon Records]Alan Walker - All Falls Down (Clean)Sigma (ft. Quavo & Sebastian Kole) - Forever (Radio Edit) EQ (Clean)Peyton 'When They Go Low' (DJ Wire Remix) [Peyton Music]Guest Mix: Mike Williams

Here's one of the great ones. Tom Erbe is an amazing cat. He's been on my radar for almost as long as I've been serious about electronic music; his early work with Soundhack (subsequently expanded into plug-in and app form) was inspirational, and opened my ears for computer music outside the realm of standard sequencing. He's a serious experimental music engineer and producer, and has implemented a Williams Mix performance and recording (available on his personal website). Most recently, he's garnered a following for his work with Make Noise on the Echophon, Phonogene and Erbe-Verb. I watch amazed as Tom float from hardware to software, all the while creating head-bending, fun results. With all of that, it's amazing to find that he's the most laid back, easy going person you'll ever talk to. What a great talk! Enjoy. [ddg]

Heeeeeelllllooooooooo, we are back with Med Mix 36, the 36TH in a weekly series of mixes from our resident DJ's, @MattHibbert and @Tom_Williams. Hahaha, how have we even got to 36, fucking hell! Every Wednesday afternoon/evening we'll be uploading a brand new mix for you, perfect for your Med pre drinks and while your getting ready to hit Med! Presented by main room dj @MattHibbert, it's 1 big mash up of all your favourite tunes from the main room at Med. As usual an hour of the biggest tunes in dance music right now along with all the standard bad banter, shout out's and competitions. You can win free entry for you and a mate to Med tonight (1st October) so listen in for the question and tweet my your answer before 9pm ('at' matthibbert)using the hashtag #MedMix. We;ve got a guest mix from my main room partner in crime (literally) Tom Williams and it's a belter. Tonight...It's week 4 of Freshers, Hope are the last ones back and i think i've somehow avoided freshers flu. More importantly, let's just have a fucking party! Be early, doors are at 10:30, so just get down, get in, and get a bevy, get me one whilst you're at the bar actually. LET'S GET BARNETTED! (AGAIN) Listen, download, like, share, repost, do whatever you do, but blast it out and celebrate Freshers! If you want a shout or have a tune request for next week's Med Mix then tweet us, 'medicationclub' and 'matthibbert' on Twitter. Tweet me the answer to the question to win free entry (at)matthibbert using the hashtag #MedMix. Who knows who might show up tonight? Ballotelli 10/1 Chris Tarrant 20/1 My dad 250/1 Is Right!

Heeeeeelllllooooooooo, we are back with Med Mix 30, the 30th in a weekly series of mixes from our resident DJ's, @MattHibbert and @Tom_Williams and a few BIG NAME guests to come. How have we even got to 30, fucking hell! Every Wednesday afternoon/evening we'll be uploading a brand new mix for you, perfect for your Med pre drinks and while your getting ready to hit Med! Presented by main room dj and cheese room mic man @MattHibbert, it's 1 big mash up of all your favourite tunes from the main room at Med. As usual an hour of the biggest tunes in dance music right now along with all the standard bad banter, shout out's and competitions. You can win free entry for you and a mate to Med tonight (14th May) so listen in for the question and tweet my your answer before 9pm ('at' matthibbert)using the hashtag #MedMix. Tonight its end of Exams for JMU so it's gonna be a HEAVY one, and to celebrate this, i've only drafted in the boy himself Tom Williams, (@Tom_Williams) my fellow Med DJ, on guest mix duties, and he has delivered a quite frankly stonking hour of tunes. Listen, download, like, share, repost, do whatever you do, but blast it out and celebrate the end of your exams! If you've still got exams, listen to it during revision, it'll help, honest! Does anyone even read these things, let's see, whoever brings me (@MattHibert) a picture of a snooker table to the DJ booth tonight (14th May) in Med first gets a bevy on me. Remember, we're running right through until the end of May. If you want a shout or have a tune request for next week's Med Mix then tweet us, 'medicationclub' and 'matthibbert' on Twitter. Tweet me the answer to the question to win free entry (at)matthibbert using the hashtag #MedMix. Who might show up at Med tonight??? Get your bets in now. (Bookies no longer taking bets on Chris Tarrant) Is Right!

Paranoia. Grenzerfahrungen elektronischer Musik im Kontext von Iannis Xenakis’ Schaffen | Symposium Thu May 31, - Jun 02, 2012 Together with “Cinq études de bruits” (1948), by Pierre Schaeffer and Karlheinz Stockhausen‘s “Studie II” (1954), “Williams Mix” (1952/53) by John Cage, belongs among the key works of early audiotape music. During these early years, in which the appearance of the synthesizer and sequencer were still a long way off, electro-acoustic music was produced directly on audiotape in what was then the newly-founded studios: by recording existing sounds (environmental noises, voices, music instruments, etc.), the generation of electroacoustic sounds by the simplest of means (vibration and noise generators, beat buzzers, etc.), processing through filtering, transformation of the replay speed and direction and, finally, by the temporal sequence and overlapping of material. Although John Cage left the score of “Williams Mix” with his publisher C.F. Peters New York, so that other artists could produce new pieces, this opportunity has yet to be exploited. In this sense, Werner Dafeldecker’s and Valerio Tricoli’s project of once again realizing “Williams Mix” represents a premiere. Its significance not only lies in the digital appropriation of analog production methods by contemporary artists, in the sense of a historical practice of performance, but far more in the redemption of John Cage’s demand which was to understand audiotape music as a living part of musical encounter and analytical interpretation, and to accordingly update it by way of the new technologies.

Greetings!  Remember me? While “Pushing The Envelope” has continued with its radio presence, airing on Saturday mornings from 10 – Noon EST on WHUS / Storrs, CT (tune in: http://www.whus.org/listen-live ).  The podcast, on the other hand, has had to take a back seat to grad school.  That being said, it’s not every day we have the opportunity celebrate John Cage’s 100th birthday. Enjoy! Joel Episode 16: John Cage 100th Birthday PTE Podcast (9-8-12) Dream / A Room         composer: John Cage / piano: Bruce Brubaker           Glass Cage Arabesque Recordings (2000) The Seasons    composer: John Cage / American Composers Orchestra, cond. Dennis Russell Davies            The Seasons    ECM New Series (2000) Five / Songbooks        Singer Pur       Electric Seraphim       KuK (1998) 4'33" - live radio performance            composer: John Cage Suite for Toy Piano     composer: John Cage / toy piano: Stephen Drury                 In A Landscape       Catalyst (1994) Williams Mix (1952)  John Cage        OHM: the early gurus of electronic music Ellipsis Arts (1999) Six (1991)       composer: John Cage / percussion: Glenn Freeman    Three2 / Twenty-Three / Six / Twenty-Six         Ogre Ogress (1999) http://ogreogress.com/ One6 A (1990)            composer: John Cage / violin: Christina Fong       ONEviolin            Ogre Ogress (1998) http://ogreogress.com/ In A Landscape           composer: John Cage / piano: Margaret Leng Tan Musicworks #52      Musicworks (1992)   http://www.musicworks.ca/ Sonatas I - IV for prepared piano        composer: John Cage / prepared piano: Boris Berman            Sonatas and Interludes for Prepared Piano      Naxos (1999) http://www.naxos.com