Public radio and experimental music
From The Art and Popular Culture Encyclopedia
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| + | In the 1950s, radio services such as the [[BBC Radiophonic Workshop]] were started at the various [[public radio]]s in Europe, all of influence to the emerging fields of [[electronic music]] and [[acousmatic music]]. [[Paris]] had the [[Groupe de Recherches Musicales]] which developed [[musique concrète]], [[Cologne]] had [[Studio für elektronische Musik]] which nurtured the talent of [[Stockhausen]], [[Italy]] had [[Studio di Fonologia Musicale]] with [[Bruno Maderna]]. | ||
| - | Late [[2008]], [[Simon Reynolds]] published the [[director's cut]] of an article[http://reynoldsretro.blogspot.com/2008/10/towards-tomorrow-bbc-radiophonic.html] he wrote at the occasion of the 50th anniversary of the [[BBC Radiophonic Workshop]], which was founded in [[1958]] on an unknown date. Similar radio services were started at the various [[public radio]]s in Europe, all of influence to the emerging fields of [[electronic music]] and [[acousmatic music]]. [[Paris]] had the [[Groupe de Recherches Musicales]] which developed [[musique concrète]], [[Cologne]] had [[Studio für elektronische Musik]] which nurtured the talent of [[Stockhausen]], [[Italy]] had [[Studio di Fonologia Musicale]] with [[Bruno Maderna]]. | + | All of these projects share common characteristics: they are [[state funded]] (this is post-war, [[Marshall Plan]] funded Europe), they involve [[electronic music]] and are centered around [[tape editing]] and thus the development of [[non-linearity]] in music recording. |
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| - | I'm probably generalizing, mixing studios with projects and radio with art projects. However, all of these projects share common characteristics: they are [[state funded]] (this is post-war, [[Marshall Plan]] funded Europe), they involve [[electronic music]] and are centered around [[tape editing]] and thus the development of [[non-linearity]] in music recording. | + | |
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| - | So far the history of the [[BBC Radiophonic Workshop]], which was probably the biggest, as well as the other scenes mentioned above have been best documented. However, such studios and projects must have existed all over Europe. It would be interesting to get your feedback of the scene of your country. Scandinavia, Spain, Austria, the Balkan, everywhere, let's hear it from you. I'm especially looking for [[crosspollination]]s such as [[BBC Radiophonic Workshop]]/''[[Doctor Who]]'' and [[Studio di Fonologia Musicale]]/''[[Death Laid an Egg]]''. | + | |
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| - | == Notes == | + | |
| In The Netherlands, there was [[Dick Raaijmakers]] and [[Tom Dissevelt]]. | In The Netherlands, there was [[Dick Raaijmakers]] and [[Tom Dissevelt]]. | ||
Revision as of 18:42, 15 May 2024
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"In 1953, Stockhausen composed his Studie I, followed in 1954 by Elektronische Studie II—the first electronic piece to be published as a score. In 1955, more experimental and electronic studios began to appear. Notable were the creation of the Studio di fonologia musicale di Radio Milano, a studio at the NHK in Tokyo founded by Toshiro Mayuzumi, and the Philips studio at Eindhoven, the Netherlands, which moved to the University of Utrecht as the Institute of Sonology in 1960."--Sholem Stein |
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In the 1950s, radio services such as the BBC Radiophonic Workshop were started at the various public radios in Europe, all of influence to the emerging fields of electronic music and acousmatic music. Paris had the Groupe de Recherches Musicales which developed musique concrète, Cologne had Studio für elektronische Musik which nurtured the talent of Stockhausen, Italy had Studio di Fonologia Musicale with Bruno Maderna.
All of these projects share common characteristics: they are state funded (this is post-war, Marshall Plan funded Europe), they involve electronic music and are centered around tape editing and thus the development of non-linearity in music recording.
In The Netherlands, there was Dick Raaijmakers and Tom Dissevelt.
See also
