MATRIXSYNTH: Search results for Daphne Oram


Showing posts sorted by relevance for query Daphne Oram. Sort by date Show all posts
Showing posts sorted by relevance for query Daphne Oram. Sort by date Show all posts

Tuesday, June 28, 2022

Cosmic Tape Music Club Podcast hosted by The Galaxy Electric - E12 Daphne Oram


video upload by The Galaxy Electric

"Thanks for joining us for Episode 12 of the Cosmic Tape Music Club Podcast! Join your hosts Jacqueline and Augustus of the experimental pop band The Galaxy Electric as they get cosmic on the topic of Daphne Oram. What a pioneer of sound and vision.

Recommended Listening: Bird of Parallax - [below]

Vimeo video on the Oramics Machine - [below - also posted here]

Her book - https://www.daphneoram.org/anindividu...

Our Daphne-inspired Synth Performance - [below]"

You can find additional posts mentioning Daphne Oram here.

Daphne Oram - Bird of Parallax


"Daphne Oram - Oramics - Bird of Parallax
http://en.wikipedia.org/wiki/Daphne_Oram"

Oramics from Street | Films on Vimeo.

A brief glimpse of Daphne Oram's pioneering and unique Oramics synthesizer, designed in 1957 after she left the legendary BBC Radiophonic Workshop to pursue the project.

For a look at the Oramics machine now, in the Science Museum's "Oramics to Electronica" exhibition see this new film. http://vimeo.com/29318062 | http://www.sciencemuseum.org.uk/oramics

This short film features Dr Mick Grierson, Director of The Daphne Oram Collection, acquiring the synthesizer from a collector in 2009.

Contact me (Nick Street) regarding the documentary film
http://twitter.com/street83

Dr Mick Grierson - Director of the Daphne Oram Collection
http://doc.gold.ac.uk/~mus02mg/

For more information on Daphne Oram and her machine
http://daphneoram.org



The Galaxy Electric - Improvised Electroacoustic Music - Daphne Oram Theme

video upload by The Galaxy Electric

"Thanks for listening! Come on a musical voyage with us where we'll send you a new song every day, a cosmic story, and a chance to earn space treasure: https://thegalaxyelectric.lpages.co/5...

Radiophonic Sci-Fi Sonics Inspired by Daphne Oram

Utilizing analog tape delay (unfortunately out of frame of this video) - we set out to improvise in the style of the early work of Daphne Oram, whose first radio program was an extended poem set to eery radiophonic tape experimentation.

In this video, we created an improvised soundtrack to a poem by Edgar Allen Poe.
Join us every Wednesday for a ride on The Galaxy Electric Express 🚀

We perform a LIVE (improvised) Cosmic Tape Music soundtrack for your retro-futuristic travels 💫 You never know what planet you will land on…but you know it’s going to be an unforgettable journey…"

Wednesday, June 29, 2016

Tom Richard's Mini-Oramics Machine Based on Daphne Orams


Mini-Oramics Medley from Tom Richards on Vimeo.

"Early experiments with Mini-Oramics from composers Ain Bailey, James Bulley and Jo Thomas"

The video above should give you an idea of what it does. In short it reads what is drawn on the transparent sheet and generates audio through hardware. You can see an image of the hardware further below. The implementation reminds me of the ANS.

I spotted this one on the BBC website which has the following to say:

"An electronic sequencer and synthesizer has been built based on designs produced over 40 years ago by electronic music pioneer Daphne Oram.

Daphne Oram who died in 2003, co-founded the BBC Radiophonic workshop and developed a system of creating sounds and compositions using drawings.

The 'Mini Oramics' machine is thought to have remained unfinished in Daphne Oram's own lifetime, but experts argue that its approach to composition and performance would have been influential.

Tom Richards, the researcher who finally constructed the Mini Oramics, told The World At One it helped answer the question "what if this had come to pass in 1973?"

There has been quite a bit posted on Daphne Oram and Oramics here on MATRIXSYNTH over the years, so click through either link to dig deeper. Now would also be a good time to post a reminder on the Kickstarter Campaign to Republish Daphne Oram's "An Individual Note: of Music, Sound and Electronics".


The following images are from John Lely's website, posted on April 8, 2016.

"First full day working with Tom Richards’ Mini-Oramics machine, a device for drawing sound, based on the work of Daphne Oram. Here is a link to Tom’s videos of construction and early trials."

Note the hardware synth engine that is driven by the optical reader.

Saturday, June 11, 2016

Kickstarter Campaign to Republish Daphne Oram's "An Individual Note: of Music, Sound and Electronics"



You'll find the Kickstarter campaign here.

"A pioneer and little-known visionary whose work has been a major influence on the development of British experimental electronic music.

By republishing her seminal book "An Individual Note: of Music, Sound and Electronics" we want to write Daphne Oram back into music history; sharing her vision with new generations of musicians, composers, musicologists and contemporary music lovers.

We want to establish Daphne Oram as one of the UK’s leading modern composers, but we can't make this happen without your support.

Daphne Oram (1925-2003) was ahead of her time. She was a remarkable and inspirational woman who should be recognised and remembered as one of Britain’s leading cultural and historically significant figures.

She was the first Director of the BBC Radiophonic Workshop, which she co-founded in 1958, after years of persuasion and perseverance. She predicted that computers and electronics would revolutionise music decades before they became popular, and invented a new form of sound synthesis – Oramics – which was a significant step towards this revolution.

She was truly passionate and dedicated to her work. She composed a number of radical pieces such as Still Point. She lectured on electronic music throughout her career and, in 1972, she wrote her seminal book, “An Individual Note: of Music, Sound and Electronics”, which was a pioneering explanation of electronics in relation to music and sound.

When Daphne Oram first wrote and published the book, electronic music was still in its infancy. The book’s depth and its exploration was unprecedented, and her ideas and theories radical. Now that electronic music is an established and popular field, it is important that the book is redistributed to allow more people to learn and benefit from reading it.

In 2017 it will be 45 years since Daphne Oram’s book was first published. There are only a handful of copies available to access, and we want to share her story far and wide with future composers, producers and fans..."

Monday, January 09, 2012

Daphne Oram documentary - Wee Have Also Sound-Houses & Early BBC radiophonics: Private Dreams and Public Nightmares (1957)

Daphne Oram documentary - Wee Have Also Sound-Houses

YouTube Uploaded by straypixel on Jan 6, 2012

"To mark the 50th anniversary in 2008 of the creation of the BBC Radiophonic Workshop, the programme examines the life and legacy of one of the great pioneers of British electronic music - the Workshop's co-founder Daphne Oram.

As a child in the 1930s, Oram dreamed of a way to turn drawn shapes into sound, and she dedicated her life to realising that goal. Her Oramics machine anticipated the synthesiser by more than a decade, and with it she produced a number of internationally-performed works for the cinema, concert hall and theatre.

Daphne Oram was among the very first composers of electronic music in Britain and her legacy is the dominance of that soundworld in our culture today.

Introduced by Robert Moreby
Produced by Ian Chambers
TX BBC Radio 3, Sun 3 Aug 2008 21:45"


Early BBC radiophonics: Private Dreams and Public Nightmares (1957)

YouTube Uploaded by straypixel on Jan 8, 2012

"An early BBC experiment in radiophonic sound, predating the establishment of the Radiophonic Workshop, created by Frederick Bradnum and Daphne Oram (pictured) and produced by Donald McWhinnie.
TX BBC Third Programme, 07/10/1957.

McWhinnie's spoken introduction (the work starts at 4:20):

"This programme is an experiment. An exploration. It's been put together with enormous enthusiasm and equipment designed for other purposes. The basis of it is an unlimited supply of magnetic tape, recording machine, razor blade, and some thing to stick the bits together with. And a group of technicians who think that nothing is too much trouble - provided that it works.

"You take a sound. Any sound. Record it and then change its nature by a multiplicity of operations. Record it at different speeds. Play it backwards. Add it to itself over and over again. You adjust filters, echos, acoustic qualities. You combine segments of magnetic tape. By these means and many others you can create sounds which no one has ever heard before. Sounds which have indefinable and unique qualities of their own. A vast and subtle symphony can be composed from the noise of a pin dropping. In fact one of the most vibrant and elemental sounding noises in tonight's programme started life as an extremely tinny cowbell.

"It's a sort of modern magic. Many of you may be familiar with it. They've been exploiting it on the continent for years. But strangely enough we've held aloof. Partly from distrust. Is it simply a new toy? Partly through complacency. Ignorance too. We're saying at last that we think there's some thing in it. But we aren't calling it 'musique concrète'. In fact we've decided not to use the word music at all. Some musicians believe that it can become an art form itself. Others are sceptical. That's not our immediate concern. We're interested in its application to radio writing - dramatic or poetic - adding a new dimension. A form that is essentially radio.

'Properly used, radiophonic effects have no relationship with any existing sound. They're free of irrelevent associations. They have an emotional life of their own. And they could be a new and invaluable strand in the texture of radio and theatre and cinema and television.'"

Also see:
Delia Derbyshire - Sculptress of Sound documentary 1 - 7

Friday, August 19, 2011

Daphne Oram - Oramics Machine Exhibtion


flickr set by mr prudence
(click for more)

"The Oramics Machine was developed by Daphne Oram from 1957 onwards.

'Not only is this one of the earliest forms of electronic sound synthesis, it is noteworthy for being audiovisual in nature - i.e. the composer draws onto a synchronised set of ten 35mm film strips which overlay a series of photo-electric cells, generating electrical charges to control amplitude, timbre, frequency, and duration.This system was a key part of early BBC Radiophonic Workshop practice'. I wrote a post on Daphne Oram's work at Dataisnature in 2008."

Pictured:

"Oramics Machine - Daphne Oram

Oramics Exhbition - Beat Frequency Generator

Oramics Machine - Daphne Oram"

See the Oramics label below for more.

Thursday, March 01, 2012

The Science Museum Announces OraMIX Contest Winners



via The Oramics Machine on Facebook: "The moment we’ve all been waiting for. The winner of the OraMIX competition is… Chris Weeks with Telescopic Moon. Congratulations Chris!"

And the runner-ups:
"We would also like to congratulate Atomic Shadow with his second place & Obe:lus for coming third. And a special mention for Astrogarage and The Audible Smile who also received excellent reviews from our star judges."

You might recognize Automic Shadow from previous posts here on MATRIXSYNTH, including the recently announced Hollow Sun Records. Note the winning track was selected by none other than Brian Eno, DJ Spooky and The Wire.

http://oramics.herokuapp.com/

"About [the] Competition

In the 1960s, Daphne Oram developed a ground-breaking music technique she called ‘Oramics’. With her home-built ‘Oramics Machine’, Daphne made music for TV shows and commercials, but she dreamt of broadcasting live Oramics concerts through a network of fibreoptic cables, an idea that sounded like science fiction at the time.

This ambition, so typical of that era of boundless optimism for science and technology, was paralleled in the use of satellites to broadcast Our World on 25 June 1967, the very first television production performed and broadcast live from studios across the world.

Imagine that the producer of Our World, the 1967 TV programme that first linked the world via satellites, had commissioned Daphne Oram, the pioneer of electronica, to make its soundtrack.

Now you have the chance to make that imagined track a reality, using samples from the Daphne Oram Archive, courtesy of our friends at Soundcloud; Goldsmiths,University of London; Sound and Music; Boomkat; and the Daphne Oram Trust.

You don’t have to limit yourself to 1960s style. Use the stems to make the piece in whatever genre you fancy.

Our winning track will be selected by our judges Brian Eno, DJ Spooky and The Wire."

Friday, April 03, 2020

The Galaxy Electric - Improvised Electroacoustic Music - Daphne Oram Theme


Published on Apr 3, 2020 The Galaxy Electric

"Thanks for listening! Come on a musical voyage with us where we'll send you a new song every day, a cosmic story, and a chance to earn space treasure: https://thegalaxyelectric.lpages.co/5...

Radiophonic Sci-Fi Sonics Inspired by Daphne Oram

Utilizing analog tape delay (unfortunately out of frame of this video) - we set out to improvise in the style of the early work of Daphne Oram, whose first radio program was an extended poem set to eery radiophonic tape experimentation.

In this video, we created an improvised soundtrack to a poem by Edgar Allen Poe.
Join us every Wednesday for a ride on The Galaxy Electric Express 🚀

We perform a LIVE (improvised) Cosmic Tape Music soundtrack for your retro-futuristic travels 💫 You never know what planet you will land on…but you know it’s going to be an unforgettable journey…"

Cosmic Tape Music Club - Exploring Daphne Oram

Friday, December 04, 2015

Previously Unreleased Video of BBC Radiophonic Workshop Founder Daphne Oram

Sound Of The Future | The Archivist Presents # 22

Published on Dec 1, 2015 British Movietone

Great find via @AtomicShadow

"This week's Archivist Presents slot features a genius of electronic music, Daphne Oram.

This converted oast-house in Kent is really a kind of studio where Miss Daphne Oram is engaged in scientific research into electronic music. Thanks to a Gulbenkian Foundation grant, she's surrounded by very expensive equipment. With it, she can compose the sound and music of the future.

GV house. GV building (converted oast house). LAS top of house. MCU (sign) "Tower Folly". Zoom through one door out of another. MCU woman. CU ditto. MS woman at controls. MS tape recorder. MS controls. MS bell (2 shots) woman mends tape. MS tape recorder. CU woman. MS tape recorder. MCU woman. MS woman at controls. MS tape recorder. Pan to woman. MS trees. LAS top of house. MS tape recorder. CU woman. MS trees (at night). MS tape recorder. LAS top of house. MS trees.

You can license this story through AP Archive: http://www.aparchive.com/metadata/you...
Find out more about AP Archive: http://tinyurl.com/qjfu7wx"

Click here for all posts on Daphne Oram

Wednesday, January 04, 2012

Daphne Oram The Oram Tapes: Volume One Now Available


"Daphne Oram, founder of the BBC Radiophonic Workshop, died in 2003 leaving a colossal archive of reel-to-reel tapes and documents behind. This important collection of material eventually made its way to Goldsmiths College, London, who have been administering it on behalf of the Daphne Oram Trust for the last few years. The collection holds over 400 tapes made by Oram during her lifetime, and 211 of those have been archived and catalogued by the college so far."

You can find the release on bookmat and Amazon here.

See the Oramics label below for additional posts. Also added this one to the Synth CDs post.

via Boing Boing

Tuesday, June 11, 2013

The BBC Radiophonic Workshop Gallery


This one in via Ununseptium warehouse. You'll find the full gallery with captions here.

The top left in the pic above almost looks like old stoves and dish/sink cabinets.  It's an interesting design choice for tape and audio mangling at the time.  The woman to the left and is Daphne Oram and below is Delyia Derbishire.

Left: "Caption: Daphne Oram demonstrating Radiophonic techniques on television by means of Brenell tape recorders and Jason oscillator."  It almost looks like something from Dewanatron.

Below: "Caption: Delia at the southern end of room 12, where she sits in front of the twelve Jason oscillators, an electromechanical frequency counter and the keying unit, as used to create the 'Doctor Who' theme. The dual gramophone turntable unit to her left is a BBC RP2/1."

After checking out the pics be sure to check out the labels below or use the top left search box to search on Daphne Oram, Oramics, Delia Derbyshire, and/or BBC for more posts featuring them here on MATRIXSYNTH.

Saturday, March 28, 2020

Daphne Oram


Published on Oct 26, 2013 wtfbollos

"Daphne Oram (31 December 1925 -- 5 January 2003) was a British composer and electronic musician. She was the creator of the "Oramics" technique for creating electronic sounds."

This one was sent my way via brian comnes.

You can find additional posts featuring Daphne Oram here.

Monday, March 21, 2011

Daphne Oram's Oramics Post BBC Synthesizer

Oramics from Nick Street on Vimeo.


"A brief glimpse of Daphne Oram's pioneering and unique 'Oramics' synthesiser, designed in 1957 after she left the legendary BBC Radiophonic Workshop to pursue the project.

The machine, recently acquired by Goldsmiths College, is now in the hands of The Science Museum in London and is currently being restored. It hasn't been performed since the 1970s.

For more information on Daphne Oram and her machine check out daphneoram.org"

See the Oramics and BBC labels below for more.

Monday, October 20, 2008

BBC RADIOPHONIC WORKSHOP - A Retrospective

"50TH ANNIVERSARY RELEASE

DOUBLE CD, RELEASE DATE: 3rd NOVEMBER 2008

Mute are proud to announce the release of a 50th Anniversary Retrospective double CD from the Radiophonic Workshop. This brand new compilation features classic, extremely rare and previously unavailable sounds and music by the legendary BBC organisation. Presented in chronological order, the CD includes works from stalwarts of the Radiophonic Workshop such as John Baker, Delia Derbyshire, Daphne Oram, Elizabeth Parker, Desmond Briscoe, Paddy Kingsland, Peter Howell and Malcolm Clarke amongst others.

This Retrospective features over 100 pieces of music and sound effects from various BBC TV and Radio shows from 1958 through to 1997. Including work from Quatermass and the Pit, The Goon Show, The Secret War, Blake’s Seven, The Hitchhiker’s Guide to the Galaxy, Salem’s Lot, The Demon Headmaster, Michael Palin’s Full Circle as well as the original full length Dr Who Theme and the Tardis effects.

Using reel-to-reel tape machines, early heroines such as Daphne Oram and Delia Derbyshire recorded everyday or strange sounds and then manipulated these by speeding up, slowing down or cutting the tape with razor blades and piecing it back together.

The pioneering techniques were created for and used on a myriad of programmes, with Dr Who being their biggest client. The sound of the Tardis in Dr Who was a sound engineer's front door key scraped across the bass strings on a broken piano. Other impromptu props included a lampshade, champagne corks and assorted cutlery.

Ten years ago the workshop was disbanded due to costs but its reputation as a Heath Robinson-style, pioneering force in sound is as strong as ever, acknowledged as possibly the greatest influence on UK electronic music, influencing the likes of Jon Spencer, Aphex Twin, Daniel Miller, Add N to (x)…. The corporation initially only offered its founders a six-month contract, because it feared any longer in the throes of such creative and experimental exercises might make them ill.

Also released on the same day are the albums BBC Radiophonic Workshop and BBC Radiophonic Music, The BBC Radiophonic Music CD concentrates on the more musical output of the legendary organisation while BBC Radiophonic Workshop deals with the pioneering sound effects and methods used to achieve them.

These releases continue a series that began on The Grey Area of Mute with the release of Doctor Who at the BBC Radiophonic Workshop Volume 1: The Early Years 1963-1969 and Volume 2: New Beginnings 1970-1980."

Monday, January 26, 2009

The Story Of The BBC Radiophonic Workshop and the Oramics Optical Synthesizer


via Steve Marshall:

"I wrote a 12 page article about the history of the Radiophonic Workshop for the April 08 Sound On Sound and it's now free to read on-line.

As a result of that article being printed, Graham Wrench got in touch - he's the engineer who'd built the prototype Oramic synth for Daphne Oram in the 60's. The current Feb 09 SOS has my new article about Graham and his story. Here's a link, but only to a preview.

Ray White has just put up a new gallery of Radiophonic Workshop pics - some not seen before; http://whitefiles.org/rwg/"

Also see Steve Marshall's SURROUNDHEAD for scans from 70's Studio Sound magazines.


Above: "Daphne Oram with the wobbulator (centre of shot), 1958."

Left: "The unique Oramics synthesizer was controlled by drawing onto 35mm photographic film."

Sunday, April 02, 2023

1969: What Is ELECTRONIC MUSIC? | Workshop | Radiophonic Workshop | BBC Archive


video upload by BBC Archive

Be sure to check out 3:59 on. I won't give it away, but it's interesting they had the same views back then. Note 7:33 for a glimpse of what would come. Finally also see this post for Daphne Oram's Oramics and her Bird of Parallax. See the Oramics label for more.

"What is electronic music? How is it produced?

Desmond Briscoe - the head of the BBC Radiophonic Workshop - enlists the help of Daphne Oram, David Cain and John Baker to explain the fundamentals of synthesised sound.

This clip is from Workshop: The Same Trade As Mozart, originally broadcast 3 August, 1969.

You have now entered the BBC Archive, a time machine that will transport you back to the golden age of tv to educate, entertain and enlighten you with classic tv clips from the BBC vaults."

Monday, October 10, 2011

A Relic From The Roots Of Electronic Music - Oramics on NPR


Listen On All Things Considered

"The Oramics machine is the creation of Daphne Oram, the first director of the BBC's Radiophonic Workshop and a central figure in the evolution of electronic music.

'Forget everything you've ever known about synthesizers. This machine has no piano keyboard or anything like that. It looks like the sort of thing that a mad inventor would make in his shed.'" [her shed - mad inventor Daphne Oram below left]

This one in via timelord. Be sure to see the Oramics label below for more.

Monday, April 28, 2008

DELIA DERBYSHIRE- "The Wizards Laboratory" (1972)


YouTube via funknroll

"The Women of ELECTRONIC MUSIC! From the 30's to the 70's!

Before synthesizers, electronic music was honed the hard way in universities, by splicing tape loops, distorting sounds, endless dubbing, and blind instinct. Here are the timeless women of future music who created our present...

Since the 1930's, CLARA ROCKMORE was the master of the notoriously difficult Theremin, and later championed by synthesizer-creator Bob Moog; LOUIS & BEBE BARRON created the first all-electronic score for the film "FORBIDDEN PLANET" (1957), using oscillated sounds and tape loops; //STUDIO d'ASSAI (Paris): Danish ELSE MARIE PADE studied under musique concrete founder Pierre Schaeffer, becoming a noted composer; ELAINE RADIGUE used the Buchla and Arp synthesizers in her work, heavily influenced by Buddhist meditation, and records now with laptop improv group The Lappetites; MICHELE BOKANOWSKI has composed for film, televison, and theatre; //BBC RADIOPHONIC WORKSHOP (London): ...was created and directed by DAPHNE ORAM, inventor and sonic pioneer; she was followed by DELIA DERBYSHIRE, who brought Ron Grainer's "DR. WHO" theme to brilliant, eerie life with her studio wizardry; MADDALENA FAGANDINI co-created the proto-Techno single "Time Beat/ Waltz In Space" (1962) with young producer George Martin under the alias 'Ray Cathode'; GLYNIS JONES produced some of the Workshop's classic albums like "Out Of This World" (1976); ELIZABETH PARKER scored many BBC shows including "BLAKE'S 7", and was the person to see the Workshop out in its 1998 finale; //Fluxus performance artist YOKO ONO expanded John Lennon's mind and range with electronic music, musique concrete, and 'happening' experiments; //COLUMBIA-PRINCETON ELECTRONIC MUSIC CENTER (New York): A premiere focal point for international composers since the 50's, including composer and Associate Director PRIL SMILEY; ALICE SHIELDS combined her operatic voice and poetry with the revolutionary synthesizers of the late 60's and early 70's; teacher DARIA SEMEGEN wrote traditional classical music as well as electronic; WENDY CARLOS had massive mainstream success with the all-synth "Switched On Bach", before writing groundbreaking film scores for "A CLOCKWORK ORANGE," "THE SHINING" and 'TRON"; nearby at Bell Labs, LAURIE SPIEGEL spearheaded computer graphics and software design as well as new music; maverick ANNETTE PEACOCK went from Free Jazz piano to the first synthesizers, threading her early 70's raps and rock with freeform electronics; //Argentinian BEATRIZ FERREYRA, who also studied with Schaeffer, is an esteemed composer and teacher; //SAN FRANCISCO TAPE MUSIC CENTER: The crucial West Coast electronic center, including Morton Subotnick, Terry Riley, Steve Reich and PAULINE OLIVEROS in 1962; it moved across the Bay to become the... //CENTER FOR CONTEMPORARY MUSIC (Mills College, Oakland, CA): Oliveros was the first Director, perfecting her signal processing system for live performance; student and now Co-Director MAGGI PAYNE trailblazed video imagery and record engineering along with her music; alum CYNTHIA WEBSTER played in the early synth band Triode, founded electro mag SYNAPSE, and now runs Cyndustries designing software for electronic music, such as the Zeroscillator.

Their innovations led to Progressiv Rock, Krautrock, New Wave, Coldwave, Darkwave, Electro Funk, Industrial, Techno, and Electroclash. Their fringe future music is now the soundtrack of today.

DELIA DERBYSHIRE: This song is from a 1972 LP called "Ultrasonic", collecting music library pieces Delia scored for use in TV shows. It was recently issued on CD, as was "Oramics" by Daphne Oram:
http://www.boomkat.com/item.cfm?id=89395
http://www.boomkat.com/item.cfm?id=35793

See also:
ALICE SHIELDS -"STUDY FOR VOICE AND TAPE" (1968)


"Sound, the infinite frontier! Science had chopped the world into atoms, components from which to build. Modern art deconstructed reality, reconstructing our perceptions of it. And the first Electronic Music likewise took apart sound and turned it inside out for new compositions. Vladimir Ussachevsky founded the first Electronic Music Center jointly with Columbian and Princeton universities in 1952. He brought in avant composers from countries worldwide with new perspectives and radical expirementation. This included women like Daria Semegen, Pril Smiley, Wendy Carlos, and Alice Shields. In the 50's, Electronic Music was distortions of recordings. Sounds on a tape recorder would be manipulated by feedback, repeated spliced loops, overlapping tracks with multiple recorders, and using oscillators and reverb to sculpt the tempo, tone, or texture. This prevailed in continually advancing ways well through the 1960s. Alice used these techniques in creating this composition. A gifted mezzesoprano, she first sang a poem she'd written. She accompanied this with the first analog Buchla synthesizer, a rare and recent device only beginning to draw the attention of the hippest pop musicians. She then manipulated pitch and speed in textural patterns to supplement the freeform song. This was the cutting edge music of the future, usually heard only in academic circles. But it made its way into film soundtracks (from FORBIDDEN PLANET to Wendy Carlos' A CLOCKWORK ORANGE), Fusion Jazz (Miles Davis, Herbie Hancock), Progressive Rock (from George Harrison's 1969 ELECTRONIC SOUND to Krautrock and Kraftwerk), Funk (Stevie Wonder's T.O.N.T.O., Bernie Worrell), on to the synthesizer explosion of New Wave, then Hip Hop (from Bambaataa's ElectroFunk to Public Enemy's radical sculptures of noise), Industrial (synthetic abrasion), and the Electronica music of today; as such, Alice Shields is a godmother of Le Tigre, Peaches, Chicks On Speed, Lesbians On Ecstasy, and Ladytron, to name a few."

MALARIA! -"Your Turn To Run" (1982)

"The Women of 80's ELECTRO! Coldwave, Darkwave, Synthpop, Industrial!

As synthesizers got smaller and cheaper through the 70's, 'future music' went from acedemia to the street. Punk, PostPunk, Funk, and HipHop artists brought attitude and new styles into the pop vocabulary throughout the 80's that forged the music of today. Here are many women from the first Electro rock era..."

http://www.cyndustries.com/woman.cfm
http://www.newyorkwomencomposers.org/...
http://www.aliceshields.com/
http://www.imtheone.net/annettepeacoc...
http://whitefiles.org/rwg/index.htm"

Tuesday, August 02, 2011

Oramics to Electronica Exhibit


Free Fri 29 Jul 2011 - Sat 01 Dec 2012 at the Science Museum, South Kensington, London.

"Electronic music is everywhere, from the television that we watch to the music we listen to in clubs and even the ringtones on our mobile phones. But who created these electronic sounds? And how did electronic music develop?

The Oramics Machine is a revolutionary music synthesiser that was created in the 1960s by Daphne Oram. Daphne had a strong passion for both sound and electronics and the vision to combine the two.

It is too fragile to restore to working order, but you can use our new interactive to recreate the sounds that it made.

In October 2011 more exhibits will be added to this core display that will be co-created by people who are working with electronic music today as well as a group of Daphne’s contemporaries.

They will tell the intriguing story of how electronic sound has advanced, changed and was democratised from the 1950s through to the modern era, and they will look at how people envisioned new sounds and pushed the boundaries of what was possible. They will explore how over the years musicians have invented, altered and improved (often cheap) equipment to be able to produce these dreamt-up electronic sounds. And finally they will show how the production of electronic music has moved from purpose-built laboratories to a music studio the size of a laptop.

Find out more on the Oramics Machine Facebook page.

Oramics to Electronica is part of the Public History Project, which aims to explore how visitors understand the history of science and to develop a new collaborative approach to developing exhibitions. This is a novel type of exhibition for the Science Museum, filled with objects that will fascinate enthusiasts, families and adults alike."

Don't miss The Oramics Machine for iOS coming soon.

Friday, November 25, 2011

Atomic Shadow's DO3 for The Museum of Science Daphne Oram Remix Project


Listen at The Science Museum
(you can also vote for the track)

"Sonic sculpture for the Museum of Science remix content, assembled from the original Oram tracks with two additions. One used vintage sine wave generators and effects pedals, recorded in real time. The second took one of the stems and ran it through a tape echo pedal where the sound was 'played' by changing the feedback and other controls in real time. The other parts were reversed, slowed down, chopped up and pitched and arranged just as they did in the days of tape recorders and scissors. Despite the advantage of doing the editing with a computer it still took about two weeks to get the composition in order."

Atomic Shadow's sinewave generators have been featured in Hollow Sun's Music Laboratory Machines. You can find his other music at http://atomicshadow.bandcamp.com/

Wednesday, July 01, 2020

The Noise Floor of the Universe


MAKEN0ISE

"I love to make noise, and I am also keen to learn about the many ways in which noise makes me.

The observations in this video are not really anything new. If they strike any chord with you, here is some recommended further reading:

Pauline Oliveros, “Some Sound Observations” - perhaps the piece that kick-started my interest in the removal of boundaries between music and sound, sound and silence, listening and playing.

John Cage, Silence - among much other material this includes the famous story of a visit to an anechoic chamber where Cage was unable to hear “silence” because he could always hear the sounds of his own body.

Joe Allen, “Academic Archive Vol XII: The Soul of Hank Shocklee” - Shocklee discusses the unfound sounds and rhythms that emerge, consciously and otherwise, when multiple recordings are sampled and mixed together.

Eliane Radigue with Julia Eckhardt, Intermediary Spaces - Radigue discusses how underlying tones are a necessary bed for the harmonic explorations in her music to be heard, or even to exist.

Daphne Oram, An Individual Note - Oram spends the better part of her book using electronic music concepts as a sometimes clunky but always interesting extended metaphor for the human body.

George Lewis, "Improvising Tomorrow's Bodies: The Politics of Transduction" - Lewis argues for improvisation as key to "the foreshortening of distance between art and life."

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