Nicola Anne Candlish: The Development of Resources for Electronic Music in the UK, with Particular Reference to the bids to establish a National Studio (2012)

This thesis traces the history and development of the facilities for electronic music in the UK. It covers the early attempts to experiment with electronic music and create studios in less than ideal circumstances and the subsequent bids to create a national centre. It also covers some elements of worldwide development of electronic music and sound recording, in particular those which occurred before 1965. The thesis calls upon non-traditional sources and the author was able to access many documents in the personal archives of electronic music pioneers. There is substantial reference to committees and societies for electronic music and their effects on the development of facilities for electronic music in the UK. Some of the early pioneers are studied in detail; these include Daphne Oram, Tristram Cary and Hugh Davies. Unprecedented access to information on Hugh Davies and Daphne Oram was provided by the family estates of these recently deceased composers. This allowed the author to gain valuable insight into the working patterns and methodology of these composers. Many references to later pioneers such as Trevor Wishart are also made but the focus remains on the facilities available to composers rather than the composers and their works.

Doctoral thesis
Music Department, Faculty of Arts and Humanities, Durham University, 2012
189 pages

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Thomas Bey William Bailey: Micro Bionic: Radical Electronic Music & Sound Art in the 21st Century, 2nd ed (2009/2012)

Starting with the guerrilla media tactics of Industrial music in the late 1970s, the author charts an ongoing trend in electronic music: an increasing amount of sonic quality, recorded output and international contact, accomplished with a decreasing amount of tools, personnel, and capital investment. From the use of laptop computers to create massive avalanches of noise, to the establishment of micro-nations populated largely by sound artists, 21st century sound culture is expanding in its scope and popularity even as it shrinks in other respects. Numerous exclusive interviews with leading lights of the field were also conducted for this book: William Bennett (Whitehouse), Peter Christopherson (Throbbing Gristle / Coil), Peter Rehberg (Mego), John Duncan, Francisco López, Carl Michael von Hausswolff, Bob Ostertag and many others weigh in with a diversity of thoughts and opinions that underscores the incredible diversity to be found within new electronic music itself.

First published by Creation Books in 2009
Publisher Belsona Books
ISBN 0615736629, 9780615736624
417 pages

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Unsound Magazine, Nr 1-5 (1983-1984)

“Unsound was a magazine published in San Francisco by William Davenport of the band Problemist. There were about eight issues published between 1983-86. Unsound is one of the earlier US based publications with any longevity that covered the industrial/noise/punk/experimental underground.” (source)

The issues include interviews with Blixa Bargeld of Einsturzende Neubauten, Negativland, Boyd Rice, Sonic Youth, Remko Scha, Michael Gira/Swans, Genesis P-Orridge/Psychic TV, John Balance & Peter Christopherson/Coil, articles on Whitehouse, Art Radio, Soft Cell, Kronos Quartet, an overview of the Los Angeles experimental electronic scene of the time, and much more.

via Notes From Underground blog

Download (Vol 1, Nr 1, Sep 1983)
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Dick Raaijmakers: Cahier-M: A Brief Morphology of Electric Sound (2000)

Cahier-M is about the morphology of electric sound. This inherently single-layered type of sound is discussed in the light of ‘neo-plastic’ music as suggested by the painter Piet Mondriaan in the 1920′s. He advocated a kind of music that consisted of single-layered, ‘single-colour’ electric sounds.

Furthermore, Cahier-M devotes ample attention to the morphological relationship between the typically uniform nature of electric sound and the multi-layered sound structures used by post-WWII serial composers. The discussion of this subject also covers layering (photo)graphic images as practised by the French physiologist E.J. Marey at the end of the 19th century, flipping monadic sound aggregates as practised by Karel Goeyvaerts since 1952, the application of so-called ‘horizontal arpeggios’ by Pierre Boulez around 1980, and the introduction of ‘liquid forms’ in contemporary architecture.

These aspects are illustrated based on a still valid morphological analysis of sound conducted by the author between 1963 and 1967.

Cahier-M comprises four chapters: ‘Invented Sound’, ‘Diagonal Sound’, ‘Composed Sound’ and ‘Spatial Sound’.

Publisher Leuven University Press, 2000
Volume 3 of Collected Writings of the Orpheus Institute
ISBN 9058670767
123 pages

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Johana Švarcová, Stanislav Abrahám (eds.): Manuál pro uživatele elektronické hudby (2009) [Czech]

Publikace obsahuje několik textů a rozhovorů s umělci, zabývající se teoretickou reflexí současné scény akustických umění, elektronických nástrojů, sdílení elektronické hudby a aspektů užívání technologií.

Manuál je součástí projektu AV Slabikář – série workshopů zaměřených na vzdělávání v oblasti audiovizuální tvorby, který v roce 2009 realizovalo občanské sdružení Lemurie.

Texty: Stanislav Abrahám, David Doubek, Michal Cáb, Bob Ostertag.
Interview: Ivan Palacký, Petr Marek, Pavel Pernický.

Publisher Lemurie, 2009
47 pages

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Benjamin Robert Levy: The Electronic Works of György Ligeti and Their Influence on his Later Style (2006)

This dissertation investigates the connections between the composer’s pieces for electronic tape written in the late 1950s and the instrumental music he composed thereafter. There are numerous reasons to suspect such a chain of influence, including suggestive comments Ligeti has made in interviews. Moreover, these works, Glissandi (1957), Artikulation (1958), and the uncompleted Pièce électronique no. 3 (1957-58), were written at a critical point in the composer’s career, falling between two major stylistic periods. Before he fled Hungary in December 1956 his compositions were influenced by Bartók, but his orchestral pieces Apparitions (1958-59) and Atmosphères (1961) were much celebrated for their strikingly original textures and timbres. While these orchestral pieces secured Ligeti’s reputation as an important avant-garde figure, the first works he composed in the West were the electronic pieces, which have suffered relative neglect. There are difficulties inherent in analyzing electronic music, and thus the first chapter of this dissertation focuses on theoretical literature in this growing field, including discussion of musical timbre, different means of notation, and in particular, the work of theorist Robert Cogan. Chapters 2 and 3 are analytical studies of Ligeti’s finished tape piece, using spectrographs and information from Ligeti’s sketches to focus on the use of sonic material in the construction of form. Additionally each study is put in the context of Ligeti’s contemporaries, composers such as Karlheinz Stockhausen and Gottfried Michael Koenig, as well as figures such as the philosopher T.W. Adorno. The fourth and final chapter focuses on the historical chain of influence and examines some of Ligeti’s instrumental music, particularly Apparitions, in light of the their electronic precedents. These examples illuminate connections between the electronic and instrumental, ranging from the slightest nuances in individual gestures-many of which are translated directly from one medium to the other-to methods of constructing entire forms, which continue to appear throughout Ligeti’s oeuvre; thus, the final aim of this dissertation is to provide groundwork for further studies which will deepen the understanding of other works by this innovative composer.

Dissertation
Faculty of the Graduate School of the University of Maryland, College Park
May 2006
272 pages

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Pauline Oliveros: Software for People: Collected Writings 1963-80 (1984)

Collected writings of an acclaimed composer, performer and humanitarian. The book includes articles on new music, women as composers, sonic meditation, attention and awareness, and technique.

Publisher Smith Publications, Baltimore, MD, 1984
ISBN 0914162608, 9780914162605
276 pages

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