The Holmes Archive of Electronic Music

• Chapter 21, The San Francisco Tape Music Center

  Episode 160 Chapter 21, The San Francisco Tape Music Center. 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 21, The San Francisco Tape Music Center from my book Electronic and Experimental music.   Playlist: THE SAN FRANCISCO TAPE MUSIC CENTER   Time Track Time Start Introduction –Thom Holmes 01:30 00:00 1.     Terry Riley, “Mescalin-Mix” (1960-62). Early tape collage and one of Riley’s first works for tape. 14:23 01:38 2.     Terry Riley, “Concerto For Two Pianos and Five Tape Recorders” )1961).  Piano, LaMonte Young; piano and tape assemblage, Terry Riley. Recorded live. 1961 Riley-Terry_ConcertoForTwoPianos-b.wav 04:36 15:56 3.     Pauline Oliveros, “Apple Box Double” (performance 2008). This piece was composed for various configurations of apple crates that were touched and scraped with various objects while being amplified. The original dates from about 2006. This performance by Seth Cluett and Oliveros took place in 2008. 12:45 20:30 4.     Steve Reich, “Melodica” (1966). Tape piece and the last of Reich’s works before moving onto instrumental composition in his minimalist style. 10:42 33:16 5.     Morton Subotnick, “Laminations” (1966). For orchestra and electronic sounds, on tape. By this point, Subotnick was working with an early model of a synthesizer built for the San Francisco Tape Music Center by Donald Buchla. This synthesizer material was also used for the opening of Silver Apples of the Moon the following year. 10:29 44:08 6.     Morton Subotnick, “Prelude No.4 for piano and electronic tape (1966). Another Subotnick work for instruments and tape with synthesized electronic sounds. 06:58 54:36 7.     Pauline Oliveros, “Alien Bog” (1967). Utilizing the original Buchla Box 100 series created for the Tape Music Center by Don Buchla and a tape delay system. 33:17 01:01:30 8.     Morton Subotnick, “Silver Apples of the Moon” (1967). Subotnick, recently departed from San Francisco and taking up shop at New York University, brought synthesizers constructed for him by Don Buchla when he was at the San Francisco Tape Music Center. This electronic composition represented a high point for the use of synthesizers at that time and was recorded on commission from Nonesuch Records. 32:01 01:35:00   Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.

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• Chapter 20, The Experimental Music Studio, University of Illinois

  Episode 159 Chapter 20, The Experimental Music Studio, University of Illinois. Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Playlist: THE EXPERIMENTAL MUSIC STUDIO, UNIVERSITY OF ILLINOIS Time Track Time Start Introduction –Thom Holmes 01:32 00:00 1.     Lejaren Hiller, “Nightmare Music” (1961). Tape composition produced at the Experimental Music Studio, University of Illinois. 09:41 01:34 2.     Charles Hamm, “Canto, For Soprano, Speaker & Chamber Ensemble” (1963). Produced at the Experimental Music Studio, University of Illinois. 06:25 11:16 3.     Lejaren Hiller, “Computer Cantata, For Soprano, Chamber Ensemble and Tape” (1963). Produced at the Experimental Music Studio, University of Illinois. 23:09 17:38 4.     Herbert Brün, “Futility, For Speaker And Tape” (1964). Produced at the Experimental Music Studio, University of Illinois. 07:50 40:34 5.     Lejaren Hiller, “Machine Music, For Piano, Percussion And Tape” (1964). Produced at the Experimental Music Studio, University of Illinois. 13:15 48:22 6.     Kenneth Gaburo, “Lemon Drops” (1965). Tape composition produced at the Experimental Music Studio, University of Illinois. 02:55 01:01:40 7.     Salvatore Martirano, “Underworld” (1965). Tape composition produced at the Experimental Music Studio, University of Illinois. 16:55 01:04:36 8.     Kenneth Gaburo, “For Harry” (1966). Tape composition produced at the Experimental Music Studio, University of Illinois. 03:41 01:21:32 9.     Lejaren Hiller, “Suite For Two Pianos And Tape” (1966). Produced at the Experimental Music Studio, University of Illinois. 18:30 01:25:16 10.   Lejaren Hiller, “Computer Music for Tape & Percussion” (1968). Produced at the Experimental Music Studio, University of Illinois. 06:52 01:43:42 11.   Salvatore Martirano, “The SalMar: Part One” (1983). Performance by Martirano in Paris in 1983 using the one-of-a-kind Sal-Mar Construction designed for real-time performance of electronic music. It was created from 1969 to 1972 at the University of Illinois. 18:59 01:50:26   Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.

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• Chapter 19, The Cooperative Studio for Electronic Music, Ann Arbor

  Episode 158 Chapter 19, The Cooperative Studio for Electronic Music, Ann Arbor. Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast.  Playlist: THE COOPERATIVE STUDIO FOR ELECTRONIC MUSIC, ANN ARBOR Time Track Time Start Introduction –Thom Holmes 01:34 00:00 1.     Gordon Mumma, “Music from the Venezia Space Theater” (1963-64). Tape composition produced with Robert Ashley at the Cooperative Studio for Electronic Music in Ann Arbor, for Milton Cohen’s Space Theater. 12:01 01:38 2.     Robert Ashley and Bob James Trio, “Wolfman” (1965). Tape composition produced at the Cooperative Studio for Electronic Music in Ann Arbor. 06:08 13:25 3.     Robert Ashley, Gordon Mumma and Bob James Trio, “Untitled Mixes” (1965). Tape composition produced at the Cooperative Studio for Electronic Music in Ann Arbor. 05:19 19:34 4.     Gordon Mumma and Bob James Trio, “And On” (1965). Tape composition produced at the Cooperative Studio for Electronic Music in Ann Arbor. 08:54 24:50 5.     Gordon Mumma, “The Dresden Interleaf 13 February 1945” (1965). Tape composition produced at the Cooperative Studio for Electronic Music in Ann Arbor. 12:20 33:54 6.     Robert Ashley, “She was a Visitor” (1967). Tape composition produced at the Cooperative Studio for Electronic Music in Ann Arbor. 05:56 46:00 7.     Gordon Mumma, “Horn” (1967). Tape composition produced at the Cooperative Studio for Electronic Music in Ann Arbor. 06:22 51:54 8.     Robert Ashley, Purposeful Lady Slow Afternoon (1968). Tape composition produced at the Cooperative Studio for Electronic Music in Ann Arbor. 10:15 58:18 9.     Alvin Lucier, “Vespers” (1969). Performance piece for echolocating devices, first produced in Ann Arbor at the Once Festival. 10:03 01:08:27   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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• Chapter 18, The Columbia– Princeton Electronic Music Center, New York

  Episode 157 Chapter 18, The Columbia– Princeton Electronic Music Center, New York. Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Playlist: THE COLUMBIA–PRINCETON ELECTRONIC MUSIC CENTER, NEW YORK Time Track Time Start Introduction –Thom Holmes 01:31 00:00 1.     Vladimir Ussachevsky, “Sonic Contours” (1952). Tape composition produced at the Columbia-Princeton Electronic Music Center. 07:24 01:36 2.     Otto Luening and Vladimir Ussachevsky, “Incantation For Tape” (1953). Tape composition produced at the Columbia-Princeton Electronic Music Center. 02:36 08:56 3.     Vladimir Ussachevsky, “Linear Contrasts” (1958). Tape composition produced at the Columbia-Princeton Electronic Music Center. 03:46 11:28 4.     Halim El Dabh, “Electronics And The Word” (1959). Tape composition produced at the Columbia-Princeton Electronic Music Center. 02:47 15:14 5.     Mario Davidovsky, “Electronic Study No. 1” (1960). Tape composition produced at the Columbia-Princeton Electronic Music Center. 05:44 17:56 6.     Otto Luening, “Gargoyles” (1960). Tape composition produced at the Columbia-Princeton Electronic Music Center. 09:27 23:42 7.     Vladimir Ussachevsky, “Wireless Fantasy” (1960). Tape composition produced at the Columbia-Princeton Electronic Music Center. 04:37 33:08 8.     Ihan Mimaroglu, “Prelude No. 8 (To the memory of Edgard Varèse)” (1966). Tape composition produced at the Columbia-Princeton Electronic Music Center. 04:00 37:44 9.     Pril Smiley, “Eclipse” (1967). Tape composition produced at the Columbia-Princeton Electronic Music Center. 07:56 41:38 10.   Milton Babbitt, “Occasional Variations” (1968-71).  Tape composition produced at the Columbia-Princeton Electronic Music Center. 09:56 49:46 11.   Bülent Arel, “Stereo Electronic Music No. 2 (1970). Tape composition produced at the Columbia-Princeton Electronic Music Center. 14:24 59:41 12.   Charles Dodge, “Changes” (1970). Tape composition produced at the Columbia-Princeton Electronic Music Center. 14:44 01:14:00 13.   Alice Shields, “The Transformation Of Ani” (1970). Tape composition produced at the Columbia-Princeton Electronic Music Center. 09:05 01:28:44 14.   Daria Semegen, “Electronic Composition No.1” (1971). Tape composition produced at the Columbia-Princeton Electronic Music Center. 05:53 01:37:48 15.   Bülent Arel and Daria Semegen, “Out Of Into” (1972). Tape composition produced at the Columbia-Princeton Electronic Music Center. 16:39 01:43:34 Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.

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  2:01:09
• Chapter 17, John Cage in the United States

  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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