Electronic music pioneers

[Roland Kuit]

Lejaren Arthur Hiller
(February 23, 1924, New York City – January 26, 1994, Buffalo, New York)

was an American composer. In 1957 he collaborated on the first significant computer music composition, Illiac Suite, with Leonard Issacson. It was his fourth string quartet. In 1958 he founded the Experimental Music Studio at the University of Illinois at Urbana-Champaign. His notable pupils included composers James Fulkerson, Larry Lake, Ilza Nogueira, David Rosenboom, Bernadette Speach and James Tenney.
He played piano, oboe, clarinet, and saxophone as a child. He also studied composition with Roger Sessions and Milton Babbitt while earning his chemistry degree at Princeton University. His father, Lejaren Hiller, Sr., was a well-known art photographer who specialized in historical tableaux.
He wrote an article on the Illiac Suite for Scientific American which garnered a lot of attention from the press, generating a storm of controversy. The musical establishment was so hostile to this interloper scientist that both Baker's Biographical Dictionary of Musicians and the New Grove Dictionary of Music and Musicians refused to include him until shortly before his death.
A majority of Hiller's works after 1957 do not involve computers at all, but might include stochastic music, indeterminacy, serialism, Brahmsian traditionalism, jazz, performance art, folksong and counterpoint mixed together. He also collaborated with John Cage for HPSCHD. In 1968, he joined the faculty at University at Buffalo as Slee Professor of Composition, where he established the school's first computer music facility and codirected with Lukas Foss the celebrated Center of the Creative and Performing Arts. His illness forced him to retire in 1989.(Wiki)

Vocalise:
http://youtu.be/S_6fPZ6sY90

[Roland Kuit]

Kenneth Gaburo
(July 5, 1926–January 26, 1993)

He became Director of the Experimental Music Studio at the University of Iowa in 1983.[citation needed] The studio put intensive focus on composition, technology, psycho-acoustic perception, performance, and the affirmation of the uniqueness of the individual to create his/her own language reality. At the studio, he founded the Seminar for Cognitive Studies, a forum for discussion of the creative process. His concern for the investigation of music as legitimate research, and composition as the creation of intrinsic appropriate language, led to a series of readings in compositional linguistics for solo performer.
He most often made innovative use of electronics and explored tonality, serialism, and what he called "compositional linguistics" such as in his LINGUA series (Listening). He also wrote minimal pieces such as The Flow of (u) for three voices singing unison.(Wiki)

For Harry, 1966:
http://youtu.be/Pl_hrsnVTpU

[Roland Kuit]

Edgar Valcárcel Arze
(4 Dezember 1932 in Puno; † 11. März 2010 in Lima)

Valcárcel studied at the Academy of Music in Lima in Andres Sas Orchassal, at Hunter College (New York) with Donald Lybbert, at the Centro Latinoamericano de Altos Estudios Musicales (CLAEM) in Buenos Aires and at the Electronic Music Center of Columbia University in New York under Vladimir Ussachevski and Alcides Lanca. He was professor of composition at the Conservatory of Lima.
Valcárels output includes orchestral works, a piano, a cello and a clarinet concerto, chamber music in a different occupation, two piano sonatas, choral works, songs, stage music, and works for electronic instruments.(Wiki)

Invención,1966:
http://youtu.be/i8U7vULTqDM

[Roland Kuit]

Charles Dodge
(b. Ames, Iowa, June 5, 1942)

is an American composer best known for his electronic music, specifically his computer music. He is a former student of Darius Milhaud and Gunther Schuller.
In the 1970s he taught at Columbia and subsequently founded the Brooklyn College Center for Computer Music (BC-CCM) at Brooklyn College of the City University of New York where he was Professor of Music. He also taught at the City University Graduate Center. During Dodge’s years as Professor of Composition and Director of the BC-CCM, Dodge not only had the BC-CCM designated as an official Center within Brooklyn College in 1978 but more importantly brought it to a world-class standing in the field of computer music.
In the early 1990s Dodge left Brooklyn College for Dartmouth College. In May 2009 he retired from the position of Visiting Professor at Dartmouth College, a post he held for 18 years. In addition to his work as a composer, Dodge is noted for co-authoring the highly praised book Computer Music: Synthesis, Composition, and Performance, ISBN 0-02-864682-7(Wiki)

Charles Dodge - Earth's Magnetic Field, Columbia-Princeton Electronic Music Center 1961-1973 compilation:
http://youtu.be/j5MHsnc67yw

[Roland Kuit]

Alvin Lucier
(born May 14, 1931) is an American composer of experimental music and sound installations that explore acoustic phenomena and auditory perception. A long-time music professor at Wesleyan University, Lucier was a member of the influential Sonic Arts Union, which included Robert Ashley, David Behrman, and Gordon Mumma. Much of his work is influenced by science and explores the physical properties of sound itself: resonance of spaces, phase interference between closely tuned pitches, and the transmission of sound through physical media.
Though Lucier had composed chamber and orchestral works since 1952, the composer and his critics count his 1965 composition Music for Solo Performer as the proper beginning of his compositional career. In that piece, EEG electrodes attached to the performer’s scalp detect bursts of alpha waves generated when the performer achieves a meditative, non-visual brain state. These alpha waves are amplified and the resulting electrical signal is used to vibrate percussion instruments distributed around the performance space. Other important early pieces include Vespers (1968), in which performers use hand-held echolocation devices to locate the approximate physical centre of a room, to deepen their understanding of acoustical perception, and to reveal the elements of environmental space through non-visual means.

I Am Sitting in a Room

One of Lucier’s most important and best-known works is I Am Sitting in a Room (1969), in which Lucier records himself narrating a text, and then plays the recording back into the room, re-recording it. The new recording is then played back and re-recorded, and this process is repeated. Since all rooms have a characteristic resonance (e.g., between a large hall and a small room), the effect is that certain frequencies are gradually emphasized as they resonate in the room, until eventually the words become unintelligible, replaced by the pure resonant harmonies and tones of the room itself. The recited text describes this process in action. It begins, “I am sitting in a room, different from the one you are in now. I am recording the sound of my speaking voice…”, and concludes with “I regard this activity not so much as a demonstration of a physical fact, but more as a way to smooth out any irregularities my speech might have,” referring to his own stuttering.(Wiki)

Alvin Lucier - I Am Sitting In A Room:
http://youtu.be/2jU9mJbJsQ8

Lucier-Music for Piano and Oscillators:
http://youtu.be/B14Pspjok78

[Roland Kuit]

Henri Pousseur
(23 June 1929, Malmedy – 6 March 2009, Brussels) was a Belgian composer.

Pousseur studied at the Academies of Music in Liège and in Brussels from 1947 to 1952, where he joined the group called Variations associated with Pierre Froidebise. It was in this group that he first became familiar with the music of Anton Webern and other 20th-century composers. During his period of military service in 1952–53 at Malines he maintained close contact with André Souris. He encountered Pierre Boulez in 1951 at Royaumont, and this contact inspired his Trois chants sacrés, composed that same year. In 1953 he met Karlheinz Stockhausen, and in 1956 Luciano Berio (Decroupet 2009).
Beginning around 1960, he collaborated with Michel Butor on a number of projects, most notably the opera Votre Faust (1960–68) (Decroupet 2009).
Pousseur taught in Cologne, Basel, and in the United States at SUNY Buffalo, as well as in his native Belgium. From 1970 until his retirement in 1988 he taught at the University and Conservatory of Liège where he also founded the Centre de recherches et de formation musicales de Wallonie.(Wiki)

Henri Pousseur: Huit Etudes paraboliques, I. Les Ailes d'Icare, 1972:
http://youtu.be/qefjl71J11w

[Roland Kuit]

Double post removed.

[Roland Kuit]

Charles Wuorinen

(born June 9, 1938) is a prolific Pulitzer Prize-winning American composer born and living in New York City. His catalog of more than 260 compositions includes works for orchestra, opera, and chamber music, as well as solo instrumental and vocal works. In recent years he has dedicated attention to large-scale works for the stage, including collaborations with Salman Rushdie and Annie Proulx.

The 1970s were a particularly fruitful period for Wuorinen, who taught from 1971 to 1979 at the Manhattan School of Music. Chamber works during this decade include his first two string quartets, the Six Pieces for Violin and Piano, Fast Fantasy for cello and piano and two large works for the Tashi ensemble, Tashi and Fortune. Works for orchestra include the Grand Bamboula for strings, A Reliquary for Igor Stravinsky which incorporates the elder master's last sketches, the Second Piano Concerto and the Concerto for Amplified Violin and Orchestra, which caused a scandal at its premiere at the Tanglewood Festival[1] with Paul Zukofsky and the BSO conducted by Michael Tilson Thomas. In 1976 Wuorinen completed his Percussion Symphony,[2] a five-movement work for 24 players including two pianos for the New Jersey Percussion Ensemble and his longtime colleague Raymond DesRoches, as well as his opera subtitled "a baroque burlesque", The W. of Babylon with an original libretto by Renaud Charles Bruce. In the late 1970s Wuorinen became interested in the work of the mathematician Benoit Mandelbrot and with a grant from the Rockefeller Foundation he conducted sonic experiments at Bell Labs in New Jersey. In an interview with Richard Burbank, Wuorinen is quoted as saying, "What I did at Bell Labs (with Mark Liberman) was to try various experiments in which strings of pseudo-random material, usually pitches but sometimes other things, were generated and then subjected to traditional types of compositional organization, including twelve-tone procedures. What I wanted to do was to see whether or not these things sounded "composed," sounded purposively chosen. They did, at least by my lights. The random sequences were not just any old random sequences but were that of a kind called 1/f randomness."(Wiki)





Charles Wuorinen: Time's Encomium. 1969:
http://youtu.be/CKq8DkBk_GA

[Roland Kuit]

Delia Ann Derbyshire
(5 May 1937 – 3 July 2001) was an English musician and composer of electronic music and musique concrète. She is best known for her electronic realisation of Ron Grainer's theme music to the British science fiction television series Doctor Who and for her work with the BBC Radiophonic Workshop.

In November 1960 she joined the BBC as a Trainee Assistant Studio Manager and worked on Record Review, a magazine programme where critics reviewed classical music recordings. She said: "Some people thought I had a kind of second sight. One of the music critics would say "I don't know where it is, but it's where the trombones come in" and I'd hold it up to the light and see the trombones and put the needle down exactly where it was. And they thought it was magic." She then heard about the Radiophonic workshop and decided that was where she wanted to work. This was received with some puzzlement by the heads in Central Programme Operation because people were usually "assigned" to the Radiophonic Workshop, and in April 1962 she was indeed assigned to the BBC Radiophonic Workshop in Maida Vale, where for eleven years she would create music and sound for almost 200 radio and television programmes.

In August 1962 she assisted composer Luciano Berio at a two-week Summer School at Dartington Hall, for which she borrowed several dozen items of equipment from the BBC. One of her first works, and the most widely known, was her 1963 electronic realization of a score by Ron Grainer for the theme tune of the Doctor Who series, one of the first television themes to be created and produced by entirely electronic means.

When Grainer first heard it, he was so amazed by her rendering of his theme that he asked "Did I really write this?" to which Derbyshire replied "Most of it". Grainer attempted to get her a co-composer credit but the attempt was prevented by the BBC bureaucracy, who then preferred to keep the members of the Workshop anonymous. The theme was reworked over the years, to her horror, and the version that had her "stamp of approval" is her original one. Delia also composed some of the incidental music for the show, including Blue Veils and Golden Sands and The Delian (Wiki)

Delia Derbyshire-: "The Wizards Laboratory", 1972:
http://youtu.be/F9AkSI_UbIE

[Roland Kuit]

Konrad Boehmer
(born 24 May 1941) is a Dutch composer and writer of German birth.

Boehmer was born in Berlin. His music reflects his Marxist political agenda, which is made explicit in many of his writings from the late 1960s and 1970s (e.g., Boehmer 1970). A self-declared member of the Darmstadt School (Boehmer 1987), he studied composition in Cologne with Karlheinz Stockhausen and Gottfried Michael Koenig, and philosophy, sociology, and musicology at the University of Cologne, where he received a PhD in 1966 (Sabbe 2001). After receiving his doctorate, he settled in Amsterdam, working until 1968 at the Institute for Sonology, Utrecht University. In 1972 he was appointed professor of music history and theory at the Royal Conservatory of The Hague (Sabbe 2001).

His compositions characteristically employ serial organization or montage, sometimes with elements of jazz and rock music (as in his opera Doktor Faustus and the electronic Apocalipsis cum figuris). In other works, such as Canciones del camino and Lied uit de vert Marxist songs serve as basic material (Sabbe 2001).

In 2001 the Holland Festival commissioned Boehmer to write a composition for the rock band Sonic Youth, which they performed at both concerts during that festival in the Stadsschouwburg Amsterdam (Sanders 2001). It was the band in its 'Goodbye 20th Century' period.(Wiki)

Konrad Boehmer: "Aspekt", 1966:
http://youtu.be/f_KWwiD33ac

[Roland Kuit]

Denis Arthur Smalley
(born 1946 in Nelson, New Zealand)

is a composer of electroacoustic music, with a special interest in acousmatic music.
Denis Smalley studied at the University of Canterbury and Victoria University in his native New Zealand, and later at the Paris Conservatoire with Olivier Messiaen, with the Groupe de Recherches Musicales (GRM), and at the University of York, as well as the University of East Anglia in Norwich and the City University, London in England, where he has lived since 1971. He also studied with Musique concrète pioneer François Bayle.

He initially composed onto tape, but as early as the 1980s realised his works using computer software. His composition Pentes (1974) is regarded as one of the classics of electroacoustic music. Source sounds for his works may come from the environment—and are often the starting point for his pieces—but he may also develop highly sophisticated timbres from scratch using computer software. He describes his approach as "spectromorphological", featuring the development of sounds in time.

A lecturer at the University of East Anglia, England, from 1976 to 1994, he has been professor of music at City University, London since 1994.
His music has been performed around the world and most of his major works appear on commercially-released CDs.(Wiki)

Denis Smalley - Pentes, 1974:
http://youtu.be/uwYW02nf6WM

[dante]

Interview with Karlheinz StockHausen in 1985 about works he would finish by 2002.

https://soundcloud.com/hitfoundry/time- ... -karlheinz

[Roland Kuit]

Henry Jacobs a pioneer of sound art.
(born October 9, 1924)

In 1952, Jacobs returned to Chicago and began experimenting with reel to reel tape recorders, taking particular advantage of the ease with which they made it possible to manipulate sound directly. Ambient, everyday sound, and especially the structural variety of apparently spontaneous sounds, interested him; at one point he ventured to Haiti to make street recordings. While attending graduate courses at the University of Illinois, he also produced a regular program on the campus radio station (WILL) entitled Music and Folklore, which is believed by some to be one of the first presentations of "world music" to an American audience.

Moe Asch, the founder of Folkways Records, offered Jacobs the opportunity to release his first record, Radio Programme No 1 Audio Collage: Henry Jacobs’ Music and Folklore, in 1955.

In 1957, working with artist Jordan Belson, Jacobs produced Vortex: Experiments in Sound and Light - a series of concerts featuring new music, including some of Jacobs' own, and that of Karlheinz Stockhausen, and many others - taking place in the Morrison Planetarium in Golden Gate Park, San Francisco. Sound designers commonly regard this as the origin of the (now standard) concept of "surround sound." The program was popular, and Jacobs and Belson were invited to reproduce it at the 1958 World Expo in Brussels.(Wiki)

Henry Jacobs - Electronic Kabuki Mambo, 1959:
http://youtu.be/MKbzWnw1FxY

[Roland Kuit]

Bernard Parmegiani
(born 27 October 1927 in Paris, France) is a composer best known for his electronic or acousmatic music.

Between 1957 and 1961 he studied mime with Jacques Lecoq, a period he later regarded as important to his work as a composer. He joined the Groupe de Recherches Musicales (GRM) in 1959 for a two-year master class, shortly after its founding by Pierre Schaeffer. After leaving his studies with Lecoq, he was first a sound engineer and was later put in charge of the Music/Image unit for French television (ORTF). There he worked in the studio with several notable composers, Iannis Xenakis, for example

He composed his first major work, Violostries for violin and tape in 1964 for a choreography performed for Théâtre Contemporain d’Amiens directed by Jacques-Albert Cartier. During a visit to America in the late 1960s, he researched the link between music and video and on his return produced several musical videos, including L'Œil écoute, and L’Écran transparent (1973) during a residency at Westdeutscher Rundfunk in Germany. In the 1970s he also became involved with live performances of jazz and performed with the Third Ear Band in London.

At this time he also started writing acousmatic pieces for performance in the concert hall: examples are Capture éphémère of 1967 which deals with the passage of time, and L'Enfer (1972), a collaboration with the composer François Bayle, based on Danté's Divine Comedy.

In 1992 Parmegiani left the GRM and set up his own studio in Saint Remy. In April 2010 he sat on the jury at the sixth Qwartz Electronic Music Awards, a promotional project and support group for electronic music artists.
Parmegiani has been cited as a major influence by younger experimentalists like Aphex Twin, Autechre and Sonic Youth. Works of his were performed at the All Tomorrow's Parties festivals in 2003 and 2008.(Wiki)

Bernard Parmegiani - De Natura Sonorum, 1975:
http://youtu.be/c_JHjUFfOs8

[Roland Kuit]

François Bayle (born 27 April 1932, Toamasina, Madagascar) is a composer of Electronic Music, Musique concrète. He coined the term Acousmatic Music.

In the 1950s he studied with Olivier Messiaen, Pierre Schaeffer and Karlheinz Stockhausen. In 1960 he joined the Office de Radiodiffusion Télévision Française, and in 1966 was put in charge of the Groupe de Recherches Musicales (GRM). In 1975, the GRM was integrated with the new Institut national de l'audiovisuel (INA) with Bayle as its head, which post he held until 1997. During these years he organized concerts, radio broadcasts, seminars and events celebrating individual composers, supported technological developments (Syter, GRM Tools, Midi Formers, Acousmographe) and was behind innovations such as the Acousmonium and the INA-GRM recordings label.

After leaving GRM in 1997, he founded his own electronic music studio, the Studio Magison, where he has devoted himself to research, writing and composition.

In the world of electronic art music, Bayle is regarded as one of the most distinguished composers; his influence is widespread (particularly in France, Europe and French-speaking Canada) and his music has earned some of the most prestigious musical prizes (SACEM Grand Prize for Composers, 1978; National Record Grand Prize, 1981; Ars Electronica Prize, Linz, 1989; City of Paris Grand Prize for Music, 1996; Homage by the CIME of São Paulo, 1997; Charles Cros Presidential Grand Prize, 1999). 18 CDs entirely of his music have been released, an exceptionally large number for one composer in the annals of electronic art music. In 2012, François Bayle is taking part in french documentary Musique(s) électronique(s) directed by Jérémie Carboni.

François Bayle - Jeîta pt.1, 1870:
http://youtu.be/2w9_t-kbvkI

[Roland Kuit]

Douglas Gordon Lilburn
(2 November 1915 – 6 June 2001) was a New Zealand composer.

Lilburn was born in Wanganui. He attended Waitaki Boys' High School from 1930 to 1933, before moving to Christchurch to study journalism and music at Canterbury University College (then part of the University of New Zealand) (1934–36). In 1937 he began studying at the Royal College of Music, London. He was tutored in composition by Ralph Vaughan Williams and remained at the College until 1939.
Lilburn returned to New Zealand in 1940 and served as guest conductor in Wellington for three months with the NBS String Orchestra. He shifted to Christchurch in 1941 and worked as a freelance composer and teacher until 1947. Between 1946 and 1949 and again in 1951, Lilburn was Composer-in-Residence at the Cambridge Summer Music Schools.
During these years he was heavily involved in New Zealand arts activity, and became friends with other artists such as Allen Curnow, Denis Glover, Rita Angus, and Alistair Campbell.
In 1947, Lilburn shifted to Wellington to take up a position at Victoria University as part-time lecturer in music. He became a full-time lecturer in 1949, senior lecturer in 1955, was appointed Associate Professor of Music in 1963 and Professor with a personal chair in music in 1970. Following visits to studios in Europe and Canada in 1963, Lilburn founded the electronic music studio at the university—the first in Australasia—in 1966 and was its director until 1979, a year before his retirement.
Lilburn was awarded an Honorary Doctorate from the University of Otago in 1969 and in 1978 was presented with the Citation for Services to New Zealand Music by the Composers' Association of New Zealand. On 6 February 1988, Lilburn was the eightth appointee to The Order of New Zealand.(Wiki)

Douglas Lilburn: Fragments Of A Poem:
http://youtu.be/czO0XxvRCGA

[Roland Kuit]

Ivo Malec
(born 30 March 1925, Zagreb) is a Croatian born French[1] composer, music educator and conductor. One of the earliest Yugoslav composers to obtain high international regard, his works have been performed by symphony orchestras throughout Europe and North America.
Coming from a rather 'classical' background, he met Pierre Schaeffer whom he considers his 'true and only master'; Schaeffer's teachings turned Malec into one of the most important leaders of the Groupe de recherches musicales. Since then he dedicated himself to a more radical style. He received a number of awards including the Grand Prix National de Musique in 1992. He is resident in France since 1955 and taught at the Paris Conservatoire from 1972 to 1990 where he taught composers such as Edith Canat de Chizy, Denis Dufour, Philippe Hurel, Philippe Leroux and Gerard Pesson.

Malec's approach to composition which in ways is similar to that of Denis Dufour or Xenakis is the emphasis on all aspects of sound including texture, density, movement, timbre and notably sonic character and form and the use of sound objects(wiki).

Ivo Malec - Bizzara(1972):
http://youtu.be/uAfm30xPHjo

[Roland Kuit]

Werner Kaegi

Werner Kaegi (born June 17, 1926) is a Swiss electronic music composer, musicologist and educator. During the 1960s, he promoted electronic music in his home country. In the 1970s, as a composer and researcher at Utrecht's Institute of Sonology, The Netherlands, he developed pioneering programs in the field of computer-generated music.

Kaegi was born in Uznach, in the St. Gallen canton. He studied mathematical logic and music in Zürich, Heidelberg and Basel, and music composition in Zürich, Basel, Salzburg and Paris. His music teachers have included composers Paul Hindemith, Arthur Honegger and Louis Aubert. In 1951, blending his interests for mathematics and music, he received his doctorate with a study of the structure of Johann Sebastian Bach's Inventions and Fugues.

Kaegi discovered Pierre Schaeffer, musique concrète and the GRM radio broadcasts in Paris in 1951, yet his 1950s compositions are for traditional instruments; Ariadne in Zürich is for clarinet and piano 4 hands, Miniaturen, for oboe, bassoon and cimbalom, while the 1956 Sonate is for clarinet and piano. During the next decade, however, Werner Kaegi embraced electronic music and became a pioneer of Swiss electroacoustic music, predating other composers in the field, such as Bruno Spoerri and Rainer Boesch.

At Centre de Recherches Sonores (1963–1970)

From 1963 to 1970, Kaegi worked at the Centre de Recherches Sonores, the electroacoustic music studio of Radio Suisse Romande in Geneva. There he started composing electronic and tape music, including pieces such as Éclipses (1964), L'Art de la Table (1964), and Entretiens (1965). At the C.R.S., Kaegi created several radiophonic works; such as La Porte Noire in 1964 and Zéa in 1965. In the late 1960s, Kaegi wrote several essays on electronic music, including the influential book Was ist elektronische Musik?, ("What Is Electronic Music?"), which was published in 1967 in Zurich, Switzerland, and also became a film for Swiss television.

This period of electronic music championing culminated in 1971 with the publication of Kaegi's unique record release, a 7-inch record titled Von Sinuston zur elektronischen Musik ("From Sine Wave to Electronic Music"). In the 12 pages accompanying booklet, Kaegi analyses the basic constituents of electronic music like sine wave, sound synthesis, ring modulation or electronic oscillator, with sound examples provided on the disc as well as excerpts from his most recent works of the time, Kyoto, 1970, Thai Clarinet, 1970, Hydrophonie I, 1969 and Illumination Expo'70 Osaka, 1969. The latter piece was commissioned by the Swiss government to be used as background music for the Swiss pavilion at the World Expo '70 in Osaka, Japan, a project he undertook with composer and contemporary music promoter André Zumbach (born 1931), then head of music at Radio Suisse Romande.

At Instituut voor Sonologie (1971–1987)

In 1969, Kaegi was invited to compose at Utrecht's Institute of Sonology, formerly known as STEM, in The Netherlands, where he created the tape music of Hydrophonie I. Owing to a grant from the Swiss government, he permanently relocated to The Netherlands in 1971 to work at the Institute and soon became a member of the board of directors. At the Institute, Kaegi worked as a composer, researcher and teacher in the field of electronically generated music and composition – his students have among others included Benno Ammann, Lasse Thoresen, Jos Janssen, Cort Lippe, Kathleen St John, Trevor Batten. Canadian composer Paul Goodman, born 1955, became his assistant in the 1980s.

Between 1973 and 1978, together with Dutch researcher Stan Tempelaars (1938–2010), Kaegi developed the VOSIM program. VOSIM, which stands for VOice SIMulator, is a system based on the digital sound synthesis of simple, sinusoidal square waves, allowing the modeling of vowel sounds, vocal fricatives and quasi-instrumental tones.[14] It complemented, and was used in conjunction with, Gottfried Michael Koenig's own computer-generated music programs Project 1 (1964), Project 2 (1966) and SSP (1971). Werner Kaegi summed up the VOSIM system in 1986 in a presentation for the scientific journal Interface.

In 1987, Kaegi was awarded a prize at the 15th Bourges international electroacoustic competition, in Bourges, France, for his piece Ritournelles, for soprano and VOSIM software.[15] He apparently ceased teaching and composing after 1987.(Wiki)

Youtube:
http://www.youtube.com/watch?v=4veu_G9U17A
http://www.youtube.com/watch?v=qs7DDG1znec

[yayajohn]

Joel Chadabe (I took one of his classes in the 80's but it was way over my head and I was way too immature....too bad I can't go back in time)
Joel Chadabe, composer, author, is an internationally recognized pioneer in the development of interactive music systems. He has concertized widely since 1969, with Jan Williams, Bruno Sperri, and other musicians, presenting his music at venues and festivals such as Klangprojektionen 4.4 (Vienna), Ear to the Earth (New York City), Computing Music IV (Cologne), HörZeit-SpielRaum 2005 (Berlin), ISCM Festival (Miami), NYU Interactive (NYC), New Mix (Palais de Tokyo, Paris), Chelsea Art Museum (New York), Expanded Instruments Festival (Engine 27, New York City), Centro Cultural Recoleta (Buenos Aires), Venice Biennale, Wellington Festival (New Zealand), Aarhus Festival (Denmark), De Isbreker (Amsterdam), New Music America, Inventionen (Berlin), IRCAM (Paris), Stedelijk Museum (Amsterdam), Ars Electronica (Linz, Austria), Electronic Music Festival (Stockholm), and New Music New York. His music is recorded on EMF Media, Deep Listening, CDCM, Centaur, Lovely Music, Opus One, CP2, and Folkways labels.

As president of Intelligent Music from 1983-1994, he was responsible for the development and publication of a wide range of innovative and historically important software, including M and Max, as well as the TouchSurface, an xyz touch-sensitive computer input device. In 1977, with Roger Meyers, he co-authored The PLAY Program, the first software sequencer. In 1967, while director of the Electronic Music Studio at State University of New York at Albany (1965 - 1998), he designed the CEMS (Coordinated Electronic Music Studio) System, an analog-programmable electronic music system, and commissioned Robert Moog to build it.

He was keynote speaker at the NIME (New Interfaces for Musical Expression) Conference in 2002 in Dublin, sponsored by the MIT Media Lab; at the International Computer Music Conference in Berlin in 2000; and at the International Music and Technology Conference (University of Melbourne, Australia, 1981), where he first coined the term 'interactive composing'. He has presented papers at EMS05 (Montreal), Resonances (IRCAM, Paris), Intersens (Marseilles), ISEA98 (Liverpool), at several SEAMUS and ICMC conferences, and at many other conferences; participated in panels at WISP (Sydney), ICMC 05 (Barcelona), and at many other conferences and symposia; and presented lectures, workshops, and demonstrations at Florida International University, IRCAM, Zurich Conservatory, Brown University, Experience Music Project (Seattle), University of Californa at Santa Barbara, CCMIX (Paris), University of California at San Diego, and at many other universities and venues. He has received awards, fellowships, and grants from the National Endowment for the Arts, New York State Council on the Arts, Ford Foundation, Rockefeller Foundation, Fulbright Commission, SUNY Research Foundation, New York Foundation for the Arts, and other foundations. He was the winner of the Grossen Preises der Ars Electronica, 2nd Prize (Linz, Austria, 1982), and he is the recipient of the 2007 SEAMUS Lifetime Achievement Award.

As author, his book 'Electric Sound: The Past and Promise of Electronic Music', published by Prentice Hall in November 1996, is the first comprehensive overview of the history of electronic music. His articles on electronic music have appeared in Organized Sound, Leonardo, Computer Music Journal, Contemporary Music Review, Leonardo, Journal of New Music Research, Leonardo Music Journal, Electronic Musician, Perspectives of New Music, Electronic Music Review, Melos, Musique en Jeu, and many other journals and magazines, and several of his articles have been anthologized in books by MIT Press, Routledge, Feltrinelli, and other publishers.

Mr. Chadabe has a B.A. degree from the University of North Carolina at Chapel Hill and an M.M. degree from Yale University, where he studied composition with Elliott Carter. He is currently Professor Emeritus at State University of New York at Albany; Director of the Computer Music Studio at Manhattan School of Music; Visiting Faculty at New York University; and Founder and President of Electronic Music Foundation, a not-for-profit organization that organizes concerts and other events and disseminates information and materials relating to the history and current practice of electronic music.

chadabe.jpg (58.28 KiB) Viewed 4597 times

[Roland Kuit]

As we see, these pioneers and their ideas had an immense impact in creating/experiencing sound and music.
That's why this topic.

One example f.i., as an intermezzo and insight in studio techniques:
The Beatles
Tomorrow never knows
http://www.youtube.com/watch?v=7xL1ffMlzKY

Lennon told producer Martin that he wanted to sound like a hundred chanting Tibetan monks, which left Martin the difficult task of trying to find the effect by using the basic equipment they had. Lennon's suggestion was that he be suspended from a rope and—after being given a good push—he would sing as he spun around the microphone. This idea was rejected by Martin, but when asked by Lennon about it, he would only reply with, "We're looking into it."Emerick finally came up with the idea of wiring Lennon's vocal through a Leslie rotating speaker, thus obtaining the desired effect without the need of a rope. Emerick made a connector to break into the electronic circuitry of the cabinet and then re-recorded the vocal as it came out of the revolving speaker.

As Lennon hated doing a second take to double his vocals, Ken Townsend, the studio technical manager, developed an alternative form of double-tracking called automatic double tracking (ADT) system, taking the signal from the playback and recording heads of one tape machine and delaying it slightly through a second tape machine. The two tape machines used were not driven by mains electricity, but from a separate generator which put out a particular frequency, the same for both, thereby keeping them locked together. By altering the speed and frequencies, he could create various effects, which the Beatles used throughout the recording of Revolver. Lennon's vocal is double-tracked on the first three verses of the song: the effect of the Leslie cabinet can be heard after the backwards guitar solo.

The track included the highly compressed drums that The Beatles currently favoured, with reverse cymbals, reverse guitar, processed vocals, looped tape effects, a sitar and a tambura drone. McCartney supplied a bag of ¼-inch audio tape loops he had made at home after listening to Stockhausen's Gesang der Jünglinge. By disabling the erase head of a tape recorder and then spooling a continuous loop of tape through the machine while recording, the tape would constantly overdub itself, creating a saturation effect, a technique also used in musique concrète. The tape could also be induced to go faster and slower. McCartney encouraged the other Beatles to use the same effects and create their own loops. After experimentation on their own, the various Beatles supplied a total of "30 or so" tape loops to Martin, who selected 16 for use on the song. Each loop was about six seconds long.

The tape loops were played on BTR3 tape machines located in various studios of the Abbey Road building and controlled by EMI technicians in Studio Two at Abbey Road on 7 April. Each machine was monitored by one technician, who had to hold a pencil within each loop to maintain tension. The four Beatles controlled the faders of the mixing console while Martin varied the stereo panning and Emerick watched the meters. Eight of the tapes were used at one time, changed halfway through the song. The tapes were made (like most of the other loops) by superimposition and acceleration. According to Martin, the finished mix of the tape loops could not be repeated because of the complex and random way in which they were laid over the music.

Five tape loops are audible in finished version of the song. Isolating the loops reveals that they contained:
A "laughing" voice, played at double-speed (the "seagull" sound)
An orchestral chord of B flat major (from a Sibelius symphony) (0:19)
A fast electric guitar phrase in C major, reversed and played at double-speed (0:22)
Another guitar phrase with heavy tape echo, with a B flat chord provided either by guitar, organ or possibly a Mellotron Mk II (0:38)
A sitar-like descending scalar phrase played on an electric guitar, reversed and played at double-speed (0:56)
(wiki)