An extensive look at Experimental music in the 20th Century, with groundbreaking composers such as Bebe & Louis Barron, Franco Evangelisti, Henry Posseur, Herman Heiss, John Cage, Karlheinz Stockhausen, Miklós Rózsa, Olivier Messiaen, Pierre Henry, Vladimir Ussachevsky - from early sampling and sound manipulation, blending sine tones in a large reverberation chambers (!)- using electro/acoustic instruments dependent entirely on circuitry-based sound generation, using devices such as an electronic oscillator, theremin & synthesisers... MAD but beautiful stuff..!!!
(part 1 of 3)
Electronic music can be characterised as a genre of music that is created and produced by using electronic and electromechanical instruments, various digital instruments, or so-called circuitry-based music technology. Electronic music instruments include an electronic oscillator, theremin, or a synthesizer while electromechanical gear encompasses the Hammond organ, electronic piano, or electronic guitar...
Generally speaking, electronic music can be made from an extensive variety of sound resources, from basic electronic oscillators to diverse complex computer installations and software, to microprocessors. These sounds are recorded and edited on tape and then transformed into a permanent form that’s played back and reproduced using loudspeakers, either alone or in combination with ordinary musical instruments...
Although some claim that the first electrical music instrument, Golden Dionysus, was possibly developed in 1748, marking the birth of electronic music, the genre more probably originated, in the broader sense, at the turn of the 19th and 20th centuries. At that time, emerging electronics allowed for experimentation with sounds and, subsequently, with electronic devices. As an outcome, a number of electronic instruments were developed, including Telharmonium (an electrical organ developed in 1896), and later, in the 1920s and 1930s, the Hammond organ (an electronic organ), Ondes Martenot (an early electronic device played with keyboards or a ring along a wire), Trautonium (an early electronic synthesizer) or the theremin (an electronic invention developed in 1930).
These early innovations were first used for demonstrations and public performances as they were in most cases too complex, impractical, and incapable of creating a sound of any magnitude and depth. Later, with the invention of vacuum tubes, smaller, amplified, and more practical instruments could be developed that were gradually featured in newly written compositions.
A turning point for the overall music industry was the invention of the phonograph(later known as the gramophone) by, independently, Thomas Alva Edison and Emile Berliner around the 1870s/1880s. Phonographs were the first means of recording and reproducing audio files (the sounds could be captured and saved for future use) and marked the beginning of the recording industry that we know today.
More experiments with record players and innovations followed in the 1930s leading to the development of sound speed adjusting and sound-on-film technology and the creation of sound collages and graphical sound. Such technologies were then used in the composition of the first movie soundtracks, mostly in Germany and Russia. In 1935, the first practical audio tape was invented, making an essential point in the historical development of electronic music...
Musique concrète...
In 1948, musique concrète, a unique practice, and type of music composition was invented in Paris, France by two French composers, Pierre Schaeffer and Pierre Henry, in the Studio d'Essai at Radiodiffusion Française (RDF). The Musique concrète technique was concerned with the creation of tape collages or montages of recorded sounds. All these sounds - e. g. sound effects, musical fragments, vocals, and other sounds or noises produced by an individual and their environment - were being looked at as ‘concrete’ raw materials taken from ‘concrete’ means and situations. Therefore, music concrète was opposed to the use of oscillators as they were considered ‘artificial’, ‘anti-humanistic’, and thus not ‘concrete’ sound sources
More than a style or a musical movement, musique concrète could be seen as a group of various ways of transforming sound and creating music, using techniques and tape manipulations such as speed alteration and variation (also called pitch shifting), tape splicing, playing tapes backward, or signal feedback loops. The first major musique concrète composition was Symphonie pour un homme seul(Symphony for One Man Only) written in 1950 by Schaffer and Henry. The other significant work of the movement was Henry’s ballet score, Orphée, from 1953.
Elektronische Musik...
Karlheinz Stockhausen, who shortly worked in Schaeffer's studio in 1952, had a different idea of the ways sounds and music could be transformed and altered and therefore joined the WDR Cologne's Studio for Electronic Music established byHerbert Einer. Rather than ‘concrete’ sounds, Stockhausen emphasised pure, electronically generated sounds and his focus was on electronic sound modifications rather than tape manipulation. What he wanted to achieve, through sound alterations, such as filtering and modulating, was authentic electric plus acoustic compositions, meaning acoustic instrumentations altered and accompanied by modified, electronically produced sounds.
This marked the birth of Elektronische Musik, a German branch of electronic music, which, as opposed to musique concrète, emphasised the greatness and ‘purity’ of electronic sounds and the necessity to combine electronic music with a serial composing that uses rhythms, ordered groups of pitches, and other musical elements.
Both Studio d'Essai and the Studio in Cologne set examples for electronic music studios of that time and were therefore widely imitated across Europe. Such a trend continued throughout the 1960s with many more studios being established in all major urban centres in Europe before reaching the culture of the USA.
American electronic music scene
The birth of electronic music in the United States most likely started in 1939 when a musician, John Cage, published his composition, Imaginary Landscape, No. 1, utilizing various mediums and sound sources such as two variable-speed turntables, frequency recordings, muted piano, and cymbal. No electronic means of production were used for the composition. Generally, however, the production of electronic music in the USA was rather plain and sporadic and this lasted until around 1958.
The only significant remaining work on electronic music in the country was two projects undertaken by Cage and two composers at Columbia University, Otto Luening and Vladimir Ussachevsky. Between 1942-1958, Cage completed Williams Mix (1952) and Fontana Mix (1958) and composed 5 more Imagery Landscapes, written mostly for RCA test records and percussion ensembles. He also formed The Music for Magnetic Tape Project along with other composers and members of the New York School including Earle Brown, Christian Wolff, David Tudor, and Morton Feldman. The emphasis of the project was on experimenting with the recording of both electronic and natural sounds while combining them with instrumental music, dance, and visual arts.
The goal of the project led by Luening and Ussachevsky was to create a professional tape studio that would demonstrate the capabilities and musical possibilities of tape as a medium. Joined by Milton Babbitt, the two composers established the Columbia-Princeton Electronic Music Center (today known as Computer Music Center or CMC) in 1959 which has become the oldest center of electronic and computer music research in the USA. After 1958, more studios were set up across the region of North America, including the Experimental Music Studio at the University of Illinois and the University of Toronto Studio in 1959. Such establishment of these facilities provided ways for both production and education in electronic music to evolve and move forward.
The equipment of electronic music studios was developing and changing too, including various sound sources (sin-wave, square-wave, microphones, etc.), monitors and quality-control equipment (spectrum analyzer, oscilloscope, power amplifiers), recording and playback systems, routing circuitry, and much more. With such studio gear, musicians and composers were able to record sounds, both electronic and microphoned, and perform operations such as modulation, reverberation, and filtering, to modify these sounds.
Early pioneers like Pierre Schaeffer and John Cage transformed the soundscape of music by integrating electronic sounds, which broke away from traditional norms and embraced innovation. Musique Concrète - is a type of music composition that utilizes recorded sounds as raw material. Sounds are often modified through the application of audio signal processing and tape music techniques, and may be assembled into a form of sound collage...
For instance, revolutionized composition using everyday sounds, leading to advancements in tape manipulation techniques and laying a foundation for various electronic styles. The evolution of synthesisers in the 1960s further accelerated the diversification of music, with artists exploring new textural possibilities. From the radical shifts of the 1980s synth-pop to the 1990s dance musicexplosion, these movements reflected broader cultural shifts and technological advancements. Uncover how each phase contributed distinctly to what electronic music has become today.
Pioneers like Pierre Schaeffer and John Cage revolutionized music by integrating electronic devices to forge unprecedented sounds and compositions. They delved deep into exploring sonic experimentation, which became vital in shaping what you now recognize as modern electronic music. Their work didn’t just modify existing musical structures but entirely dismantled them to redefine what music could encompass.
Schaeffer and Cage’s endeavors in sound innovation in music weren’t merely about using new instruments; it was their approach to listening and creating that set them apart. They saw music as an auditory experience that could consist of any sound, not just those traditionally considered musical. This perspective opened vast avenues for what could be incorporated into a composition, including the integration of noise and environmental sounds, which most had dismissed as irrelevant or disruptive.
You can see their influence when you listen to contemporary electronic tracks that incorporate unconventional sounds as central elements rather than mere background noise. This shift in the auditory palette wasn’t just innovative—it was groundbreaking, providing a new framework for understanding and interacting with sound. Their legacy is evident: a broadened scope of musical expression that challenges and inspires artists even today.
Musique Concrète, emerged in Paris in 1948 and pioneered by Pierre Schaeffer and Pierre Henry, revolutionize the landscape of electronic music through its radical use of everyday sounds? This genre introduced a groundbreaking approach by transforming mundane auditory elements into complex, textured soundscapes. You’ll find that Musique Concrète wasn’t just about music; it was about redefining what music could be. By recording natural sounds—anything from the clattering of a train to the hum of a refrigerator—Schaeffer and Henry challenged traditional notions of musicality and composition.
Exploring soundscapes became a central theme. The duo experimented with tape recorders, manipulating sounds through techniques like speed alteration, which could stretch a simple sound into a prolonged tone or compress it into a fleeting chirp. Tape splicing allowed them to reorder sounds, crafting an auditory collage from disparate elements. These audio experimentation techniques weren’t merely novel; they were radical, pushing the boundaries of what music could encompass.
The legacy of Musique Concrète is profound, establishing a foundation for all electronic music that followed. It encouraged future artists to see the sonic potential in the everyday, paving the way for endless innovation in audio manipulation and experimental music.
As you explore the origins of Elektronische Musik, you’ll find it emerged in post-war Europe, marked by a distinct focus on purely electronic sounds. Key figures like Karlheinz Stockhausen were pivotal, innovatively employing electronic instruments to forge new musical pathways.
This era also saw the spread of electronic music studios across the continent, alongside groundbreaking technological practices such as tape manipulation and speed alteration, which greatly shaped the trajectory of avant-garde music.
Origins of Elektronische Musik
Elektronische Musik, originating in Europe, emphasized the creation of purely electronic sounds, marking a pivotal shift in musical composition and technology.
You’ll find that Karlheinz Stockhausen‘s influence was instrumental in this era. His pioneering work not only promoted the use of electronic instruments but also challenged traditional notions of what music could be.
This period was marked by early electronic experimentation, where artists explored the untapped potential of synthetic sounds. As studios dedicated to electronic music sprang up across Europe, a new platform for avant-garde composition was established.
This development was vital, as it set the stage for a radical departure from classical forms, paving the way for a rich tapestry of experimental music that would influence countless artists and genres.
Key Early Composers...
Karlheinz Stockhausen spearheaded the early development of Elektronische Musik, radically transforming the musical landscape with his innovative use of purely electronic sounds. As you explore this field, consider these pivotal aspects:
1.Foundation of Genre: Stockhausen and his contemporaries weren’t just composers; they were architects of a new sonic world, laying the groundwork for all electronic music that followed.
2.Innovation Hubs: The establishment of electronic music studios across Europe became epicenters for electronic experimentation, pushing the boundaries of what music could be.
3.Exclusivity in Instruments: This era marked a definitive shift towards using solely electronic instruments, exploring and expanding the palette of sounds available to composers.
This intensive focus on purely electronic sounds by early pioneers like Stockhausen set the stage for the genre’s future explorations.
Technological Innovations Impact
Frequently, technological advancements played a pivotal role in the emergence and shaping of Elektronische Musik, fundamentally altering how composers created and thought about music.
You’ll find that the impact of technology was profound, as pioneers like Karlheinz Stockhausen embraced purely electronic sound sources. The establishment of specialized electronic music studios across Europe wasn’t just a trend; it was a revolution in music production.
This movement wasn’t just about using new tools—it redefined the very essence of what music could be. Sound manipulation techniques developed during this era weren’t just novel; they were groundbreaking, fostering a new auditory landscape.
This, in turn, set the stage for the myriad electronic music genres and styles that you recognize today.
Tape Music Innovations...
As you explore the world of tape music innovations, you’ll find that early tape composition techniques weren’t only foundational but transformative in the domain of electronic music. Influential works utilizing these methods broke traditional musical boundaries, employing tape splicing and manipulation to create unprecedented auditory experiences.
These techniques allowed composers to sculpt soundscapes that were unimaginable before the advent of tape technology, marking a pivotal shift in how music could be conceptualized and realized...
Early Tape Composition Techniques...
Pioneers like Pierre Schaeffer and Pierre Henry revolutionized music production by developing tape composition techniques in the mid-20th century, utilizing manipulations such as splicing, layering, speed alteration, and pitch shifting to create groundbreaking sound collages. These early methods of tape experimentation and sound manipulation paved the way for modern electronic music...
To further understand the impact of these techniques, consider the following:
1.Splicing: This involved physically cutting and rearranging tape to form new sequences, creating unexpected juxtapositions and themes.
2.Layering: By overlaying multiple sound tracks, they built complex textures and depth, enhancing the auditory experience.
3.Speed Alteration and Pitch Shifting: These manipulations altered the perceived tempo and melody, offering a new perspective on familiar sounds, contributing significantly to the avant-garde nature of their compositions.
Influential Tape Music Works
Among the most transformative works in tape music, ‘Étude aux chemins de fer‘ by Pierre Schaeffer stands out for its innovative use of everyday sounds spliced and manipulated to form a compelling auditory tapestry. This piece exemplifies the core of musique concrète, marking a significant departure from traditional music composition.
Schaeffer’s work was pioneering, not just for its tape manipulation but also for how it reshaped perceptions of sound experimentation.
The artistic influences of this era were profound, as tape composition techniques evolved rapidly. Speed alteration and other manipulative methods transformed simple recordings into complex, layered soundscapes.
These innovations laid foundational concepts that would propel electronic music into new territories of artistic expression.
Tape Splicing and Manipulation...
Building on the groundbreaking work of Pierre Schaeffer, tape splicing and manipulation emerged as central techniques in the evolution of tape music. These methods revolutionized how artists like Karlheinz Stockhausen approached sound, leading to significant developments in musique concrète.
To understand the depth and impact of these innovations, consider:
1.Tape Splicing: This technique involved physically cutting and rearranging sections of magnetic tape, allowing for novel sound sequences and structures that were otherwise impossible.
2.Speed Alteration: By varying the playback speed of tape, artists could dramatically alter pitch and timbre, expanding the sonic palette.
3.Pitch Variations: Manipulating pitch through tape speed adjustment enabled a new form of sound expression and thematic development.
The evolution of tape techniques and the impact of tape manipulation have profoundly shaped electronic music, opening up endless possibilities in sound design and composition.
Electronic Music in America...
The establishment of the Columbia-Princeton Electronic Music Center in 1959 marked a seminal moment in the evolution of electronic music in America. This institution became a hub for innovation, where American pioneers were given the tools and resources to investigate and expand the boundaries of music through technology. You’d notice that during this era, the works of John Cage not only challenged traditional compositions but also integrated emerging electronic elements, setting a foundation for avant-garde music.
As you explore further, it’s evident that technological advancements played a critical role in this transformative period. The development of new electronic instruments by American manufacturers like RCA, Buchla, and Moog catalyzed a shift in the musical landscape. These innovations allowed composers to manipulate sound in unprecedented ways, fostering a unique blend of experimentalism and avant-garde influences that characterized American electronic music in the subsequent decades.
Artists such as Wendy Carlos and Raymond Scott were instrumental in pushing the boundaries further. Their pioneering works not only showcased the capabilities of electronic music but also influenced its integration into mainstream culture, laying the groundwork for future genres and styles that would captivate audiences worldwide.
excerpts taken from Makai Macdonald - Pioneering Electronic Music Artists: A Historical Guide
pHOTO = Karlheinz Stockhausen
Featuring;
Alwin Nikolais
Dick Raaijmakers
Dr. Samuel J. Hoffman & Leslie Baxter
Henk Badings
Henri Jacobs
Iannis Xenakis
John Cage
John Robinson Pierce
Karlheinz Stockhausen
Lasry-Baschet
Max Mathews
Otto Luening
Percy Grainger
Phil Young
Pierre Henry
Pierre Schaeffer
Remi Gassmann
Richard Maxfield
Robert Beyer & Herbert Elmert
Sonny Blount & Stuff Smith
The Blue Men
Walter Ruttmann
