Épisodes

  • Chapter 32, Other Analog Synthesizers

    Chapter 32, Other Analog Synthesizers
    May 15 2025
    Episode 173 Chapter 32, Other Analog Synthesizers. 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 32, Other Analog Synthesizers from my book Electronic and Experimental music. Playlist: OTHER EARLY SYNTHESIZER RECORDINGS (PRE-MIDI AND NOT MOOG) Time Track Time Start Introduction –Thom Holmes 01:36 00:00 1. Raymond Scott, “Space Mystery” (1963). Used Scott’s Electronium, a custom-made analog synthesizer/sequencer. 05:08 01:42 2. Pauline Oliveros, “Alien Bog” (1967). Used a prototype Buchla 100 modular synthesizer at Mills College. 33:13 06:53 3. John Eaton, “Soliloquy For Syn-Ket” (1973) from Electro-Vibrations (The Music Of John Eaton). Used the Synket, an Italian-made modular synthesizer of which only six were ever made. 06:38 40:06 4. John Keating, “Earthshine” (1975) from Space Experience 2. Featured the ARP 2600 and Pro- Soloist. 04:09 46:46 5. Patrick Gleeson, “Saturn, The Bringer Of Old Age” (1976) from Beyond The Sun: An Electronic Portrait Of Holst's The Planets. Used Eµ Systems Polyphonic synthesizer. 09:31 51:02 6. Jean Michel Jarre, “Oxygene, Part IV” (1976) from Oxygene. Used the ARP Odyssey, EMS Synthi AKS, EMS Synthi VCS3, and RMI Harmonic Synthesizer and Keyboard Computer. 03:07 01:00:34 7. Bennie Maupin, “Crystals” (1978) from Moonscapes. Featured the E-mu Modular Synthesizer programmed by Patrick Gleeson, who owned Different Fur Studios in the San Francisco area and owned E-mu synthesizers (see previous track for an example of the E-mu Systems Polyphonic synthesizer). Here, we have a different treatment of the same instrument by jazz woodwind player Maupin, who played Soprano Saxophone, Tenor Saxophone, Bass Clarinet, Flute, Marimba, Glockenspiel, E-mu Synthesizer, and Computone Synthesizer Winddriver on this album. I picked this track because this is most stripped-down arrangement featuring only Maupin playing the E-mu synthesizer and other instruments. 01:18 01:03:44 8. Pere Ubu, “On the Surface” (1978) from Dub Housing. Allen Ravenstein used the EML Electrocomp 101 modular synthesizer as a member of this band. 02:37 01:05:02 9. Sylvester, “You Make Me Feel (Mighty Real)” (1978) from Step II. One of the few albums to feature EML (Electronic Music Laboratories) Modular Synthesizer plus String synthesizer, Electro-comp 101 synthesizer and 200 expander unit, Oberheim DS-2 Sequencer, Effects, Pat Cowley; organ, Electric piano, Clavinet, Michael C. Finden; Percussion, David Frazier; Producer, Lead Vocals, Piano, Sylvester. EML was a Connecticut-based synth maker that was around from about 1970 to 1984. They were best-known for their Electro-comp modular synths. The 101 was a duophonic semi-modular 44-note synth and the model 200 was an expander unit that added ring modulation, spring reverb, and high and low filters to the setup. It was interesting to hear this Moroder-like pulsating synth sound coming from something other than a Moog. 06:34 01:07:40 10. Isao Tomita, “The Sea Named Solaris” (1978) from Kosmos. Used the Roland System 700, Roland Strings RS- 202, Roland Revo 30, in addition to Moog Modular III, Moog System 55, and Polymoog synthesizers. 12:28 01:14:11 11. Moebius, “Song For Lya” (1979) from Moebius. Serge, Oberheim, and Minimoog synthesizers, vocals, Bryce Robbley; Serge, Oberheim synthesizers, Doug Lynner; Violin, John Stubbs. Listen closely to tune-out the parts by the Odyssey and Minimoog and you will experience a lovely bed laid down by the Serge. Moebius had three members, one a violinist, heard in this tune blending with the Serge. Although the group used a Sennheiser vocoder on another track, the vocal distortion on this track may have actually been the voice processed with the Serge. 03:15 01:26:42 12. Pascal Languirand, “O Nos Omnes” (1980) from De Harmonia Universalia. Features the Farfisa Synthorchestra, the famous Italian’s company entry into the string synthesizer fray. The Syntorchestra was split into two keyboard sections, strings (polyphonic), ...
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    1 h et 50 min
  • Chapter 31, ARP Analog Synthesizers

    Chapter 31, ARP Analog Synthesizers
    May 15 2025

    Episode 172

    Chapter 31, ARP Analog Synthesizers. 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 31, ARP Analog Synthesizers from my book Electronic and Experimental music.

    Playlist: MUSIC MADE WITH ARP ANALOG SYNTHESIZERS

    Time

    Track Time

    Start

    Introduction –Thom Holmes

    01:34

    00:00

    1. Elias Tanenbaum, “Contrasts” (1971) from ARP Art. Used the ARP Odyssey.

    05:03

    01:40

    2. ARP demonstration. Roger Powell and Harry Coon, The ARP 2500—How it Sounds, side 2 from The Electronic Sounds Of The Arp Synthesizer 2600 And 2500 (1972 ARP Instruments). Vinyl, 7", 33 ⅓ RPM. Music by Harry Coon and an improvisation by Roger Powell.

    06:19

    06:46

    3. ARP demonstration. Roger Powell and Harry Coon, The ARP 2600—How it Works, side 1 from The Electronic Sounds Of The Arp Synthesizer 2600 And 2500 (1972 ARP Instruments). Vinyl, 7", 33 ⅓ RPM. Narrated and all music by Roger Powell.

    07:38

    13:02

    4. Roger Powell, “Ictus: Primordial Pulse,” (4:57), “Lumia: Dance Of The Nebulae” (5:14), “Fourneau Cosmique: The Alchemical Furnace Of Cleopatra,” (7:42) (1973) from Cosmic Furnace. Featured the ARP 2500, ARP Soloist, ARP 2600, and ARP Odyssey.

    17:50

    20:40

    5. Bobbi Humphrey, “My Little Girl” (1974) from Satin Doll. Featured Larry Mizell on ARP synthesizers.

    06:38

    38:32

    6. Herbie Hancock, “Palm Grease” (1974) from Thrust. Featured the ARP Odyssey, ARP Soloist, ARP 2600, and ARP String synthesizer.

    10:35

    45:16

    7. John Keating, “Starcluster” (1975) from Space Experience 2. Featured the ARP 2600 and Pro- Soloist.

    03:44

    55:50

    8. Joseph Byrd, “The Stars and Stripes Forever” (1976) from Yankee Transcendoodle. Featured the ARP Odyssey.

    03:22

    59:34

    9. Charles Earland, “Sons of the Gods” (1976) from Odyssey. Featured the ARP Pro- Soloist, ARP Axe, ARP String Ensemble, Clavinet and organ.

    05:44

    01:02:58

    10. Jean Michel Jarre, “Oxygene, Parts I, II, and III” (1976) from Oxygene. Used ARP and other synthesizers.

    18:40

    01:08:39

    11. Michel Magne, “Trip Psychiatrique” (1978) from Elements, La Terre(1978). Featured the ARP Odyssey, ARP Omni Polyphonique, and ARP 2600.

    04:35

    01:27:22

    12. Mike Mandel, “Pyramids” from Sky Music (1978). Featured the ARP Odyssey, ARP Pro Soloist, and ARP Omni II.

    05:59

    01:36:51

    13. Eliane Radigue, “Triptych Part 2” (1978) from Triptypch. Composed and performed on the ARP 2500 modular synthesizer.

    11:56

    01:37:52

    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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    1 h et 51 min
  • Chapter 30, EMS Analog Synthesizers

    Chapter 30, EMS Analog Synthesizers
    May 9 2025
    Episode 171 Chapter 30, EMS Analog Synthesizers. 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 30, EMS Analog Synthesizers from my book Electronic and Experimental music. Playlist: MUSIC MADE WITH EMS ANALOG SYNTHESIZERS Time Track Time Start Introduction –Thom Holmes 01:34 00:00 1. Delia Derbyshire, “Dance From ‘Noah’ " (1970). Composed for a television program. Used the EMS VCS3. 00:55 01:44 2. Selections from the demonstration disc, EMS Synthi And The Composer (1971). Excerpts from Harrison Birtwistle, “Medusa,” Peter Zinovieff, “January Tensions,” and Tristram Cary, “Continuum.” 06:15 02:34 3. Peter Zinovieff and Harrison Birtwistle, “Chronometer” (1971–2). Featured both the EMS Synthi VCS3 and modified sound recordings of the ticking of Big Ben and the chimes of Wells Cathedral clock. 24:23 08:48 4. Mike Hankinson, “Toccata And Fugue In D Minor” (Bach) (1972) from The Classical Synthesizer. South African record realized using the Putney (EMS) VCS3. 07:04 33:06 5. Electrophon, “Arrival of the Queen of Sheba” (1973) from In a Covent Garden (1973). Electrophon Music was described as the studio where the electronics were recorded and produced in the UK by Radiophonic musicians Brian Hodgson, Dudley Simpson. A variety of synthesizers were used including the obscure EMS Synthi Range, a multi-effect instrument. 03:04 40:10 6. The Eden Electronic Ensemble, “Elite Syncopations” (Joplin) (1974) from The Eden Electronic Ensemble Plays Joplin. Realized using the EMS VCS3 and Minimoog synthesizers. 04:53 43:12 7. Peter Zinovieff, “A Lollipop For Papa” (1974). Realized with the EMS Synthi AKS. 06:26 48:04 8. Peter Zinovieff and Hans Werner Henze, “Tristan” (Long Section) (1975). Tape accompaniment realized with the EMS Synthi AKS. 07:40 54:40 9. J.D. Robb, “Poem of Summer” (1976) from Rhythmania And Other Electronic Musical Compositions. Realized using the EMS Synthi AKS. 02:04 01:02:18 10. J.D. Robb, “Synthi Waltz” (1976) from Rhythmania And Other Electronic Musical Compositions. Realized using the EMS Synthi AKS and Synthi Sequencer 256 (digital sequencer). 01:52 01:04:24 11. Bruno Spoerri, “Hymn Of Taurus (Taurus Is Calling You!)” (1978) from Voice Of Taurus. Realized using a host of equipment, including a few EMS instruments: EMS Synthi 100, EMS VCS3, EMS AKS, EMS Vocoder 2000, Alto Saxophone with EMS Pitch-to-voltage Converter & Random Generator, plus the Lyricon, Prophet-5 Polyphonic Synthesizer, ARP Omni & Odyssey, Minimoog, Moog Taurus Bass Pedal, RMI Keyboard Computer, Ondes Martenot , Vako Polyphonic Orchestron, Bode Frequency Shifter, AMS Tape Phase Simulator, Echoplex, Roland Echo, Roland Rhythm Box, Bruno Spoerri. 02:48 01:06:16 12. Henry Sweitzer, “Open Windows” (1979) from Te Deum. Realized with the EMS Synthi AKS. 11:11 01:09:02 13. Eduard Artemyev, Yuri Bogdanov, Vladimir Martynov, “Le Vent Dans La Plaine,” “Io Mi Son Giovinetta,” and “Why Ask You?” (1980) from Metamorphoses. Composed and realized using the EMS Synthi 100, a large synthesizer unit combining several EMS3 models and connecting circuitry. 08:38 01:20:14 14. Jean-Michel Jarre, “Les Chants Magnétiques,” (side 1) (1981) from Les Chants Magnétiques. Portions realized with the EMS Synthi AKS, EMS Synthi VCS3, and EMS Vocoder 1000. 17:58 01:28:52 15. Alessandro Cortini and Merzbow, “AAMC” (2017) from Alessandro Cortini And Merzbow. Recent recording with all sounds realized using a vintage EMS Synthi AKS. 04:49 01:46:40 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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    1 h et 53 min
  • Chapter 29, Buchla Analog Synthesizers

    Chapter 29, Buchla Analog Synthesizers
    May 1 2025

    Episode 170

    Chapter 29, Buchla Analog Synthesizers. 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 29, Buchla Analog Synthesizers from my book Electronic and Experimental music.

    Playlist: MUSIC MADE WITH BUCHLA ANALOG SYNTHESIZERS

    Time

    Track Time

    Start

    Introduction –Thom Holmes

    01:38

    00:00

    1. Morton Subotnick, “Prelude No. 4” (1966). Early work for piano and electronic tape using sounds created on the Buchla 100. Pianist, Richard Bunger, recorded in 1973 (Buchla tape from 1966).

    05:15

    01:40

    2. Morton Subotnick, “Silver Apples of the Moon” (Part 1) (1966). First commissioned work of electronic music from Nonesuch Records.

    04:23

    08:32

    3. Gerry Olds, “4/3 + 1” (1967). Jazz mixed with electronics created on the Buchla 100 at a San Francisco Tape Music Center Concert.

    11:19

    12:58

    4. Buffy Sainte- Marie, “Better To Find Out For Yourself” and “The Vampire” (1969). Electronic “settings,” processing of Sainte-Marie’s voice and guitar done on Buchla 100 modular systems (3 units) used by Michael Czajkowski at the electronic music studio of NYU.

    04:39

    24:16

    5. Douglas Leedy, “Entropical Paradise” (1970). Sonic environments created by the Moog and Buchla modular synthesizers.

    20:09

    28:52

    6. George Marsh, “Wind Borne” (1973). Prepared Buchla 200 Synthesizer with sequencing, George Marsh.

    08:28

    49:06

    7. David Rosenboom and Donald Buchla, “How Much Better If Plymouth Rock Had Landed On The Pilgrims, Section V” (1978). Buchla modular synthesizers by composer Rosenboom and the inventor himself, Donald Buchla.

    22:47

    57:34

    8. Morton Subotnick, “The Last Dream of the Beast” (1978, 1982, 1984). Featured the Buchla 400.

    14:47

    01:20:20

    9. Mel Powell, “Three Synthesizer Settings” (1981). Moog and Buchla synthesizers.

    08:47

    01:35:06

    10. Morton Subotnick, “A Sky of Cloudless Sulphur, Opening” (1980). Buchla 200 and Subotnick’s “ghost shadow electronics.”

    11:15

    01:43:51

    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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    1 h et 56 min
  • Chapter 28, Moog Analog Synthesizers, Part 2

    Chapter 28, Moog Analog Synthesizers, Part 2
    Apr 26 2025

    Episode 169

    Chapter 28, Moog Analog Synthesizers, Part 2. 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 28, Moog Analog Synthesizers, Part 2 from my book Electronic and Experimental music.

    Playlist: CLASSIC SYNTHESIZER ROCK— FROM TAPE COMPOSITION TO SYNTHESIZERS

    Time

    Track Time

    Start

    Introduction –Thom Holmes

    01:34

    00:00

    1. The Beatles, “Tomorrow Never Knows” (1966). Tape loops and Lennon’s voice fed through the rotating Leslie speaker of a Hammond organ.

    02:57

    01:42

    2. Spooky Tooth and Pierre Henry, “Have Mercy” (1969). Featured tape composition by the French composer of musique concrète as part of a collaborative rock opera.

    07:55

    04:40

    3. Emerson, Lake, & Palmer, “Lucky Man” (1971). Featured the Moog Modular played by Keith Emerson; one of the first rock hits in which a Moog was the featured solo instrument.

    04:39

    12:34

    4. Yes, “Roundabout” (1971). Featured the Minimoog, Mellotron, Hammond Organ and other electronic keyboards played by Rick Wakeman.

    08:33

    17:10

    5. Elton John, “Funeral for a Friend/Love Lies Bleeding” (1973). Featured the ARP 2600 played by Dave Henschel.

    11:10

    25:42

    6. David Bowie, “Speed of Light” (1977). Produced by Brian Eno. Used an EMS AKS synthesizer and Eventide H910 harmonizer for the electronic effects and sounds.

    02:47

    36:46

    7. Gary Wright, “Touch and Gone” (1977). Used Polymoog, Clavinet, Oberheim, and Fender-Rhodes electronic keyboards.

    03:58

    39:32

    8. Gary Numan, “Cars” (1979). Early synth-rock success using electronic keyboards without guitar. Multiple Polymoog synthesizers.

    03:52

    43:28

    9. The Art of Noise, “(Who’s Afraid Of?) The Art of Noise” (1984). Art rock devised by Anne Dudley and Trevor Horn exploring the sampling capabilities of the Fairlight CMI.

    04:23

    47:20

    10. Grace Jones, “Slave to the Rhythm” (1985). Featured the Synclavier programmed and played by Trevor Horn.

    09:39

    51:43

    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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    59 min
  • Chapter 28, Moog Analog Synthesizers, Part 1

    Chapter 28, Moog Analog Synthesizers, Part 1
    Apr 26 2025
    Episode 168 Chapter 28, Moog Analog Synthesizers, Part 1. 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 28, Moog Analog Synthesizers, Part 1 from my book Electronic and Experimental music. Playlist: EARLY MOOG RECORDINGS (BEFORE 1970) Time Track Time Start Introduction –Thom Holmes 01:32 00:00 1. Emil Richards and the New Sound Element, “Sapphire (September)” from Stones (1967). Paul Beaver played Moog and Clavinet on this album by jazz-pop mallet player Richards, who also contributed some synthesizer sounds. 02:21 01:44 2. Mort Garson, “Scorpio” (1967) from Zodiac Cosmic Sounds (1967). Mort Garson and Paul Beaver. Incorporated Moog sounds among it menagerie of instruments. Garson went on to produce many solo Moog projects. 02:53 04:04 3. Hal Blaine, “Kaleidoscope (March)” from Psychedelic Percussion(1967). Hal Blaine and Paul Beaver. Beaver provided Moog and other electronic treatments for this jazzy percussion album by drummer Blaine. 02:20 06:58 4. The Electric Flag, “Flash, Bam, Pow” from The Trip soundtrack (1967). Rock group The Electric Flag. Moog by Paul Beaver. 01:27 09:18 5. The Byrds, “Space Odyssey” (1968) from The Notorious Byrd Brothers (1968). Produced by Gary Usher who was acknowledged for having included the Moog on this rock album, with tracks such as, “Goin’ Back” (played by Paul Beaver), “Natural Harmony,” and unreleased track “Moog Raga.” 03:47 10:48 6. The Monkees, “Daily Nightly” from Pisces, Aquarius, Capricorn, and Jones Ltd. (1967). Moog effects provided by Micky Dolenz of the Monkees and Paul Beaver. 02:29 14:40 7. Jean Jacques Perrey and Gershon Kingsley, “The Savers,” a single taken from Kaleidoscopic Vibrations (1967). The first Moog album by this duo known for their electro-pop songs. 01:48 17:08 8. Wendy Carlos, “Chorale Prelude "Wachet Auf" from Switched-On Bach (1968). The most celebrated Moog album of all time and still the gold standard for Moog Modular performances. 03:34 18:54 9. Mike Melvoin, “Born to be Wild” from The Plastic Cow Goes Moooooog (1969). Moog programming by Paul Beaver and Bernie Krause. 03:03 22:28 10. Sagittarius, “Lend Me a Smile” from The Blue Marble (1969). This was a studio group headed by Gary Usher, producer of The Byrds, who used the Moog extensively on this rock album. 03:09 25:30 11. The Zeet Band, “Moogie Woogie” from the album Moogie Woogie(1969). Electronic boogie and blues by an ensemble including Paul Beaver, Erwin Helfer, Mark Naftalin, “Fastfingers” Finkelstein, and Norman Dayron. 02:43 28:40 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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    32 min
  • Chapter 27, Computer Music (1971–2014)

    Chapter 27, Computer Music (1971–2014)
    Apr 16 2025

    Episode 167

    Chapter 27, Computer Music (1971–2014). 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 27, Computer Music (1971–2014) from my book Electronic and Experimental music.

    Playlist: EARLY MUSIC FROM MICROPROCESSORS

    Time

    Track Time

    Start

    Introduction –Thom Holmes

    01:36

    00:00

    1. David Behrman, “Figure in a Clearing” (1977). KIM- 1 computer- controlled harmonic changes for 33 electronic generators and accompanying cello.

    19:10

    01:40

    2. Dorothy Siegel, “Rondo from Sonata in B flat for Clarinet and Piano” (by Wanhal) (1979). Realized using an Altair S- 100 microcomputer.

    03:53

    20:52

    3. Larry Fast, “Artificial Intelligence” (1980). Music generated by a microcomputer self- composing program.

    10:46

    24:44

    4. Laurie Spiegel, “A Harmonic Algorithm” (1981). Created on an Apple II computer with Mountain Hardware oscillator boards.

    03:05

    35:30

    5. Nicolas Collins, “Little Spiders” (1982). For two microcomputers equipped with gestural sensing programs, that generated sounds based on analysis of keystrokes.

    04:46

    38:30

    6. Gordon Mumma, “Than Particle” (1985). For computer percussion and a percussionist.

    10:16

    43:30

    7. Morton Subotnick, “And the Butterflies Begin to Sing” (1988). For string quartet, bass, MIDI keyboard, and microcomputer.

    06:38

    53:50

    8. John Bischoff, Mark Trayle, Tim Perkis, “Dovetail” (1989). Three microcomputer programs interact and respond to each other in real time.

    05:04

    01:00:30

    9. Tim Perkis, “Wax Lips” (1992). Performed by The Hub, an electronic music ensemble networked by a Microcomputer.

    04:37

    01:05:32

    10. Jin Hi Kim, “Digital Buddha” (2014), recorded live at the Metropolitan Museum of Art. Electric komungo, Jin Hi Kim; percussion, Gerry Hemingway; MAX/MSP programming, Alex Noyes. The world’s first electric komungo that his equipped with MIDI and controlled using MAX. The komungo is a traditional 6-string instrument from Korea.

    12:33

    01:10:08

    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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    1 h et 24 min
  • Chapter 26, Early Computer Music (1950–70)

    Chapter 26, Early Computer Music (1950–70)
    Apr 10 2025
    Episode 166 Chapter 26, Early Computer Music (1950–70). 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 26, Early Computer Music (1950–70). from my book Electronic and Experimental music. Playlist: EARLY COMPUTER MUSIC (1950–70) Time Track Time Start Introduction –Thom Holmes 01:40 00:00 1. Tones from Australia, 1951. All produced using the CSIR Mark 1 computer built at the CSIR’s radio-physics division in Sydney. The computer had a speaker—or hooter—to signal when operations were completed. A clever programmer thought of manipulating the signal tones into a melody. 02:18 01:42 2. Alan Turing’s computer music. 1951. Recording made of tones generated by the mainframe computer at the Computing Machine Laboratory in Manchester, England. Snippets of the tunes God Save the King, Baa, Baa Black Sheep, and Glenn Miller’s swing classic In the Mood. Plus, the voices of computer lab members listening to the sound as it was recorded. Original acetate recording from 1951 restored by University of Canterbury composer Jason Long and Prof Jack Copeland. 01:55 02:36 3. Max Mathews, “Numerology” (1960). Introduced by a narrator. From the album Music From Mathematics, Bell Telephone Laboratories. While working at Bell Labs in telecommunications research, Max Mathews was one of the earliest computer engineers to use a general-purpose computer to program music and digitally synthesize musical sound. His programming language Music I allowed composers to design their own virtual instruments, a breakthrough during those pioneering days of computer music. “Numerology” was composed to demonstrate the various parameters, or building blocks, available to the composer using this programming language: vibrato (frequency modulation), attack and decay characteristics, glissando, tremolo (amplitude modulation), and the creation of new waveshapes. 02:49 04:38 4. John Robinson Pierce, “Beat Canon” (1960). Introduced by a narrator. From the album Music From Mathematics, Bell Telephone Laboratories. Played by IBM computer and direct to digital sound transducer. 00:52 07:28 5. James Tenney, “Noise Study” (1961). So named because “each of the ‘instruments’ used in this piece includes a noise-generator.” 04:24 08:20 6. “Bicycle Built For Two (Accompanied)” (1963) From the demonstration record Computer Speech - Hee Saw Dhuh Kaet (He Saw The Cat), produced by Bell Laboratories. This recording contains samples of synthesized speech–speech artificially constructed from the basic building blocks of the English language. 01:17 12:42 7. Lejaren Hiller, “Computer Cantata, Prologue to Strophe III” (1963). From the University Of Illinois. This work employed direct computer synthesis using an IBM 7094 mainframe computer and the Musicomp programming language. 05:41 14:00 8. J. K. Randall, “Lyric Variations For Violin And Computer” (1965-1968). J. K. Randall’s piece had a complex section that pushed the limits of computer processing power at the time. Although the section consisted of only 12 notes, each note was 20 seconds long. Each note overlapped with the next for 10 seconds, making the total length of the section only about 2 minutes. But this required 9 hours to process on one of the fastest computers of the day. 03:34 19:40 9. John Robinson Pierce, “Eight-Tone Canon” (1966). “Using the computer, one can produce tones with overtones at any frequencies.” Produced at Bell Telephone Laboratories. 03:53 23:14 10. Pietro Grossi, “Mixed Paganini” (1967). “Transcription for the central processor unit of a GE-115 computer of short excerpts of Paganini music scores. Realized at Studio di Fonologia musicale di Firenze (Italy). 01:46 27:08 11. Pietro Grossi, “Permutation of Five Sounds” (1967). Recording made on the Italian General Electric label. Realized at Studio di Fonologia musicale di Firenze (Italy). Distributed in 1967 as a New year gift by Olivetti company. 01:33 28:54 12. Wayne Slawson, “Wishful Thinking About...
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