Electronic Bowed String Works: Some Observations on Trends and Developments in theInstrumental/Electronic MediumAuthor(s): David NeubertSource: Perspectives of New Music, Vol. 21, No. 1/2 (Autumn, 1982 - Summer, 1983), pp. 540-566Published by: Perspectives of New MusicStable URL: http://www.jstor.org/stable/832892 .Accessed: 10/02/2011 16:40

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ELECTRONIC BOWED STRING WORKS: Some Observations on Trends and Developments

in the Instrumental/Electronic Medium

David Neubert

ABSTRACT

In this article electronic string works are classified according to medium (instrument) and means (electronic process). Various examples from the repertoire are referred to in discussing different combinations of instruments and electronic sounds. The concluding section discusses some of the goals and future trends in this medium. In addition, a substantial list of bowed string works involving electronics or processes is presented in the last section.

CATEGORIZATION AND DISCUSSION OF WORKS

Electronic string works may be classified according to the instruments and the electronic process, in short, the medium and the means. In this article, only those bowed-string instruments which fall into the traditional violin family will be dealt with. They are the violin, viola, cello, and double bass. Solo applications as well as string quartets, mixed ensembles and orchestral works will also be discussed. For the sake of brevity only one work from each medium but

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produced by different means will be mentioned. Since there is an excellent, but brief, account of many of the structural forms of these works in David Ernst's book, The Evolution of Electronic Music, and in Paul Griffiths' book, A Guide to Electronic Music, those areas will be omitted.

The "means" in the instrumental/electronic medium fall into three primary categories: (1) with tape, (2) with electronics, or (3) studio processed. The first category, instrument(s) with tape, is the most common type since it is the most accessible to live performance, (all one needs is a tape recorder, amplifier and loudspeaker system). The second category, instrument(s) with electronics, is usually the result of a composer-performer collaboration and often is restricted to those who have access to the necessary equipment (which may range from a contact-pickup and tape recorder to an elaborate modular synthesizer system). The third category, instrumental sounds processed in a recording studio, was never intended for live performance, perhaps for commercial reasons or because the electronic process was not technically feasible in a live performance situation (e.g. various tape overdubs and mixes). In other words, economic factors have nearly restricted this category to recorded music.

In order to analyze instrumental and electronic tape pieces, several factors must be taken into account. First of all, the time of origin for the particular piece is important since this will determine the technological devices available to the composer. For instance, a tape recorder, a synthesizer, and a real-time computer synthesizer were all developed at different times. Second, the composer and nature of the work are important since these will determine the general style and syntactical features of the work. A composer from Columbia-Princeton studio, perhaps trained in the "classical electronic music" tradition, will certainly approach an instrumental/tape piece differently than a composer trained in real-time performance practices. Of course, it may be argued that each individual composer has created his own style and even this style may vary from piece to piece. Third, there is a big difference in the approach to an electronic medium and an instrumental one. The obvious difference is the sound source: in the case of an electronic composition, this would be the

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tape recorder and speakers rather than a human being and an acoustical instrument. Dynamic indications in terms of electronic devices simply means an adjustment of amplitude as it relates to a particular voltage. However, dynamics in instrumental writing can also change the timbre of an instrument as well as the loudness or amplitude of a sound. The same cross relationships exist in changes of articulation, note speed (various attack and decay transients), and register shifts. Therefore, the instrumental/electronic composer must be aware of these relationships and their effects in composing for both mediums simultaneously. The easiest solution is to juxtapose the acoustic and electronic material on tape. With the advancement of technological resources and the development of expanded performance techniques (which may be a result of imitating electronic effects), the composer can combine both mediums. The reason a composer would choose to combine both the instrumental and electronic mediums is to give the added visual dimension of a live performance for the audience. This extra dimension enhances an otherwise uninteresting "performance" of loudspeakers sitting on the stage of a nineteenth-century concert hall that was designed for people, not for machines.

The development of instrumental/tape works began with Edgard Varese during the early 1950's when he composed "Deserts" for orchestra and tape. In fact, most of the early pre-1960 instrumental/tape compositions were for this medium of orchestra and tape. Note the several works of this nature that Otto Luening and Vladimir Ussachevsky composed in the 1950's (see bibliography).

Because of the advances made in technology, especially in the area of electronic sound production, composers have made use of the new resources in various ways. Timbral control and exploration seems to be the major area of musical concern since 1945 (post- Webern). Instrumental and tape combinations offer a wide variety of sound sources. The tape can contain pure electronic sounds (produced either by an analog or a digital synthesizer), instrumental sounds altered electronically, "natural" sounds (musique concrete), or any combination of these sounds. The timbral relationship between the tape and the instrument may be similar or contrasting. The

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primary reason why composers chose the orchestra instead of individual instruments in the early stages of developing the instrumental tape medium is that the timbral content of the orchestra contained enough diverse timbral choices to be readily combined with complex electronic effects. Because of this complexity, and frequent lack, of fine timbral control during the early efforts in electronic music (with tape recorders, musique concrete, and sine tone generators), the primary medium for such works was one which offered the greatest variety in color-the orchestra. In other words, the nature of electronic sound production at that time required a diverse timbral sound source to be compatible with a similarly rich electronic medium. It should be noted that the technical level of most performers at that time did not include the many diversified technical skills expected of today's musicians. Some of these skills require several dimensions of performance to occur simultaneously. For instance, Kenneth Gaburo's work "Inside," written in 1969, is literally a quartet for one double bass player. Not only is the performer expected to play his instrument in a traditional manner (bowing or plucking the strings), but he must also enunciate phonetic symbols, make extravocal sounds, and make percussive sounds on the body of the instrument simultaneously. Bertram Turetzky's book, The Contemporary Contrabass, and David Cope's book, New Music Notation, both give several examples of new instrumental techniques developed since 1960.

The level of priority given to musical parameters, such as pitch, loudness, time placement, and timbre, is an area that concerns the relationship between the instrumental and electronic medium. The standard in Western music up until the twentieth century was given to tonal ordering, after which temporal factors became the primary focus. With the advent of electronic music techniques, particularly since the development of the tape recorder and musique concrete, the musical parameter which has been given primary focus is timbre. Timbral designs are the building blocks that enable composers to fuse the diversity of sound mediums, (including natural, mechanical, and electronic sources) which are now available. Since the earliest efforts in combining instruments and electronics, timbre has been a major

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factor in structuring and integrating the work as a whole. This is not to say that there have been no exceptions, for a piece such as Otto Luening's "Gargoyles" utilizes temporal and motivic relationships more than timbral ones in creating an overall design for the piece.

The first work to be analyzed, written in 1952, is considered one of the earliest solo instrument/tape pieces known: Henk Badings' "Capriccio for Violin and Two Sound Tracks". As the title explains, this is a short, humorous or capricious work in ternary form. Instead of "tape", the composer has specified two sound tracks since stereo was a new technological development at that time. One of the primary difficulties that the composer must contend with is cueing the performer in on the score (if there is one). Or, he could simply base the work on aleatoric processes. The tape part may be accompanimental, background, or on an equal solo basis with the performer. The function of the tape here is accompanimental, similar to a piano's role in a sonata, and is set in time with the violin part. A unique aspect of this work is the complementary timbres established during an imitative pizzicato section of the piece. There are motivic devices used in both mediums although the tape portion is usually subservient to the violin, using incessant, robot-like motivic configurations. The introduction, for tape alone, immediately demonstrates what two sound tracks are like by an exaggerated panning effect. Structurally, there are clearly delineated sections throughout the work.

The tape portion of this work was completed using only twelve oscillators (probably sine tone generators and a noise generator) and the aid of a technical assistant. These sound sources for the tape portion were the only electronic resources available at that time. Therefore, it is understandable that this work is a hybrid form, combining a traditionally classical form with an electronic medium. Since this work required a technical assistant to create it, the question of who actually "composed" the electronic portion arises.

This gap in technical knowledge and skill between the composer and the electronic idiom has usually been a point of concern. Many present-day composers have filled in this gap by working directly with an engineer in designing an electronic synthesizer to their needs and

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specifications. Two examples of such a collaboration are Jon Appleton working with Sydney Alonso and Cameron Jones in developing the SYNCLAVIER, and Allen Strange working with Donald Buchla on the design of the ELECTRIC MUSIC EASEL. David Tudor and Gordon Mumma have actually combined the roles of musician and engineer by building and performing on their own electronic instruments. The integration of a traditional keyboard into an electronic synthesizer is another example of hybrid development.

The primary technique for developing an instrumental/ electronic medium has been to integrate electronic and instrumental sound structures by means of tonal, temporal and timbral relationships. During the early stages of development in instrumental tape music, the sound sources were entirely different-either pure electronics or pure instrumental sounds. Gradually the sources began merging either through imitative sound synthesis or through incorporation of the instrumental sound into the electronic medium. These two mediums were controlled independently from each other -the performer controlled the acoustical instrument and the tape recorder or synthesizer controlled the electronic sounds.

The Synchronism series by Mario Davidovsky is indicative of the evolutionary trend in developing an instrumental/electronic medium. His early three synchronisms deal primarily with integrating both mediums by means of rhythmic and tonal "synchronization". Although timbral associations are not mentioned by Davidovsky on the record jacket of his first three synchronisms, "Synchronism No. 3" for cello and tape written in 1965, effectively integrates instrumental and electronic sounds in terms of color. A good example of this type of timbral integration occurs towards the end of the work when the cello sustains a low C-sharp and the tape part literally takes over this same pitch by imitating the cello timbre. In fact, this trend continues in his later pieces, written in 1970, wherein he simply uses pre- recorded instrumental sounds to form the tape portion, thereby avoiding the technical problem of actually synthesizing "real" instrumental sounds. This series, particularly "Synchronism No. 3", also represents an excellent example of the composer carefully scoring in tape cues for the performer. A major precedent was then

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established for scored works to include a separate tape part in the score.

The trend to fuse electronic and instrumental timbres has led composers to actually use instrumental sounds as a source for the "electronic" tape part. Luciano Berio's Differences for mixed ensemble is a good example of this process. He uses pre-recorded instrumental sounds to complement and exceed the natural boundaries of the live instruments. The result is richer texture and more intriguing climactic sections.

Works for string instrument(s) and tape recorder(s) form another developing area of fusion between the electronic "effect" and the live instrument. A good example of this is Steve Reich's "Violin Phase," written in 1967, which emphasizes the electronic process in the temporal dimension. The gradually changing pattern of an initial phrase established by the violin becomes the listener's focus. It is the result of the performer not playing exactly together with the recorded version (i.e. playing "out of sync"). Another example is Robert Erickson's "Ricercar a 3", also written in 1967, for double bass and two recorded sound tracks. A tape loop ostinato becomes the foundation for further performance development. This piece resulted from a technological application and, interestingly enough, can also be performed by three players without any electronic assistance. Since the tape part was originally built on a live-recorded performance, the work can be performed by substituting two players for the sound tracks.

An area of design that has evolved from the trend of the fusion process is having the instrument and/or performer as the control source for the electronic sound medium. Since the performer can readily control his own volume and pitch levels, these variables can be translated electronically into electric voltages (pitch to voltage converter and envelope follower). These control voltages can, in turn, operate the modifying devices that are affecting the original instrumental or electronic sound source. For instance, the amount of filtration or timbral characteristics of a violin may be changed by playing louder or softer, or by playing on a higher or lower pitch level. These control applications extend to as many voltage-

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controllable devices as are available. Joel Chadabe, in his work "Soft Edges", written in 1974 for string quartet and Daisy (pseudo-random digital sequencer), eloquently utilizes instrumental volume to control the sequencer clock (thus controlling its time rate) and other parameters of the electronic system (volume, filtration, modulation, etc.).

The early tape and computer mediums both have the common element of rigid time control in ordering musical events. Temporal manipulation is readily accessible in the tape medium since distance or length of tape is directly proportional to time. Therefore, it is of no surprising consequence that the earlier works were percussive in texture and structurally integrated, often by direct juxtaposition, into the piece. The technological medium, then, was a primary determinant in the final form of the work. It is interesting to note that with the incorporation of computer logic in the compositional process, the net result is often rigidly structured into separate sections with no overlapping forms or cohesive motivic design. Some common compositional devices used here are to overdub sections, introduce a new temporary sound to mask the transition, or directly juxtapose the material. Consequently, the results are highly structured and sectionalized works such as Otto Luening's "Gargoyles", an early tape piece for violin, or J. K. Randall's "Lyric Variations" for violin and computer. Both of these works have clearly delimited sections in a logical format. In fact, some works are based structurally on computer algorithms alone, such as Lejaren Hiller's "Illiac Suite for String Quartet", written in 1957. This work and others from the University of Illinois are processed electronically on a control level rather than sound level. The final computed score is performed by acoustical instruments, usually without any electronic modification added. An even more successful combination in terms of fusing the instrumental and electronic medium is in Barry Vercoe's "Synapse for Viola and Computer", written in 1976. Several times during the work, the tape part (computer generated) is indistinguishable from the viola part. This type of timbral association is more eloquent than direct juxtaposition or overlapping of parts. With new computer designs, the control factor will play an important part in structuring instrumental/

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electronic works. Since the computer is capable of handling multi- faceted controls simultaneously, this will enable the performer to manipulate directly all aspects of his performance. This may even include the design and structure of the work as it is being performed, or "executed" in terms of computer language. The composer will prepare a computer program for the performer to work from in which the performer may branch and deviate freely. Perhaps there will no longer be a distinction between composer and performer in this type of music, only between hardware and software.

The string quartet medium traditionally has been a challenging area for composers. Considering the timeless masterpieces of Mozart, Beethoven, and Bart6k, it is difficult enough for the modern composer to compete in such a medium, let alone compete by adding another dimension of electronic sound. Leon Kirchner's "String Quartet No. 3", written in 1967, is successful in that he was careful not to step out of the "bounds" of traditional string quartet writing and yet incorporated an electronic tape part that is absolutely an integral part of the whole work. The primary focus of the work is the "tape cadenza" which allows the performers to interact freely with the tape sounds within certain limitations of time and instrumental effects.

The question now arises whether electronic prototype instruments will supplant the original, acoustical ones. Perhaps not, since a new medium will merely be created, just as the electric guitar readily fit into the jazz/rock idiom and did not take over the role of the acoustical guitar in the traditional classical/folk idiom. There are new electronic instruments appearing in contemporary music, such as Bertram Turetzky performing on an electronic bass (the "BulaBass") and Ami Radunskaya (Amy Radner) using a modified electric cello. To cover research and development costs, these new electronic instruments will probably be used for commercial purposes. Already various jazz, rock, and country musicians are incorporating electronic string effects; Jean Luc Ponty (electric violin), John Cale (electric viola in the Velvet Underground), the Electric Light Orchestra, Charlie Daniels Band, Vascar Clements, Papa John Creach, and David Grissman, to name a few.

Max Matthews developed the electric violin which has not only been used for experimental acoustics studies, but also is used in

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Emmanuel Ghent's work "Concerto for Electric Violin and Computer Brass", written in 1976. In addition, George Crumb's work "Black Angels", written in 1970, was originally composed for these "electric" instruments. Both of these works explore the acoustical possibilities of a string instrument imitating electronic effects. Some examples of these "quasi-electronic effects", as David Ernst terms them, are col legno battuto and tratto (striking or drawing the bow with the wooden part), sul tasto (bowing over the fingerboard), sul ponticello (bowing near the bridge), glissando (a portamento slide), tremolo, wide vibrato, snap or Bart6k Pizzicato, and various other traditional string techniques. Some non-traditional techniques that have resulted from composers trying to imitate electronic effects (the previous effects existed before the advent of electronic sounds), are: grinding bow sounds (exaggerated bow pressure used by Penderecki in "Threnody"), circular bow sounds (creating the illusion of changing timbres or "filtering" the sound), bowing the tail piece or side of the bridge or other instrument parts, harmonic glissando (natural and artificial, which imitates the sound of a high-Q low pass filter), and pizzicato tremolo (perhaps borrowed from Flamenco guitar playing).

Jacob Druckman's "Synapse/Valentine", written in 1970, represents a juxtaposition rather than fusion of instrumental and electronic sounds. The instrumental portion, "Valentine" for solo double bass, is usually performed without the introductory tape counterpart, "Synapse", and involves theatrical elements as well as acoustical events. This requires a live performance to understand the visual gestures, especially the first twenty seconds which are only inaudible pantomime motions. One of the coherent elements between these two pieces, in addition to all the various "quasi-electronic" effects previously mentioned, is the character of humor. In "Synapse" the humorous effects are created by gross gestures such as extreme register shifts, exaggerated glissandi, and circus-type rhythms. Similar effects are imitated in "Valentine" as well as the virtuosic display of several simultaneous events such as playing, speaking or singing, tapping the instrument, and making facial gestures. Perhaps this simultaneity of events is a human endeavor to mimic the function of a multi-track tape recorder or computer program.

CONCLUSION

In listening to and analyzing the various forms of electronic bowed string works, it appears that the trend is towards a homogeneous blend between the traditional acoustic instrument and the electronic medium. This blend has been achieved by timbral imitation between both mediums. This has been done by developing new instrumental techniques that are "quasi-electronic", using electronic techniques to synthesize instrumental sounds, or manipulation of instrumental sounds electronically, either live or in a studio. The next step will be to include greater flexibility in terms of total sound production control by the performer.

These works should be looked at not only from the listener's "ear-point", but also from the composer's and performer's frame of mind. In discussing some of the performance difficulties encountered among various performing artists, the general difficulty mentioned about many tape works is the lack of personal-or perhaps "random" -interaction with the accompanying tape part. By incorporating real time interactive devices such as proximity sensors, envelope followers, and pitch to voltage converters, the performer is allowed to take an active role in the creative process.

One of the end results of electronic bowed string works is the extension of the range of traditional instruments. Just as Wagner extended the range of the orchestral instruments into a virtuosic capacity, so has the fusion of art and technology brought about a new catalog of performance techniques. Imitative processes involving both electronic effects and string effects resulted in attempts to establish a common timbre. With the advent of computer technology, perhaps a perfect fusion will someday be achieved. When that fusion occurs, the instrumental/electronic medium will no longer be a hybrid form - it will be a new and unified one.

BIBLIOGRAPHY

Appleton, Jon H. and Ronald C. Perera, eds. The Development and Practice of Electronic Music. Englewood Cliffs: Prentice-Hall, Inc. 1975.

Boretz, Benjamin and Edward T. Cone, eds. Perspectives on Notation and Performance. New York: W.W. Norton Co., 1976.

Causse, Rene and Vinko Globokar, Klaus Heitz, and Max Mathews. Unite Electronique Destinee d la Transformation du son en Temps Reel, Programmable et Controlable par L'Instrumentiste. Paris: IRCAM (Institut de Recherche et Coordination Acoustique/Musique).

Cope, David. New Music Notation. Dubuque, Iowa: Kendall/Hunt Publishing Co., 1976.

Cross, Lowell M. A Bibliography of Electronic Music. Toronto: University of Toronto Press, 1963.

Davies, Hugh. "Repertoire International des Musiques Electroacoustiques," in Electronic Music Review, nos. 2/3, April/July, 1967.

Erickson, Robert. Sound Structure in Music. Berkeley: University of California Press, 1975.

Ernst, David. The Evolution of Electronic Music. New York: Schirmer, 1977.

Farish, Margaret K. String Music in Print. New York: R.R. Bowker Co., 1973.

Griffiths, Paul. A Guide to Electronic Music. New York: Thames and Hudson, 1979.

Juster, F. Petits Instruments Electroniques de Musique et leur Realisation. Paris: Libraire Parisienne de la Radio, 1973.

Kellogg, Virginia Katherine. A New Repertoire: Worksfor Solo Violin and Tape. Rochester, New York: D.M.A. Dissertation Eastman School of Music, 1975.

Lincoln, Harry B., ed. The Computer and Music. Ithaca: Cornell University Press, 1974.

Matthews, M. V. "Analysis and Synthesis of Timbres," Music and Room Acoustics. Stockholm: Royal Swedish Academy of Music, 1975.

Nyman, Michael. Experimental Music. New York: Schirmer, 1974.

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Read, Gardner. Style and Orchestration. New York: Schirmer, 1979.

Schwartz, Elliot. A Listener's Guide to Electronic Music. New York: Praeger Publishers, Inc., 1975.

Turetzky, Bertram. The Contemporary Contrabass. Berkeley: University of California Press, 1974.

CATALOGS

American Music Center, Electronic Music Supplement No. 4, New York: 1980.

American Music Center, Chamber Music, Vol. 2. New York, 1978.

American Music Center, Composer/Librettist Program Collection. New York: 1979.

C. F. Peters Corporation, Contemporary Music Catalogue with 1976-1979 Supplement. New York: 1979.

Composers Recordings Incorporated (CRI), Record Catalog with Supplements. New York: 1980.

Schwann Record Catalogs. New York, 1970-1980.

Theodore Presser Company, String Catalog. New York, 1978.

Universal Edition, New Music: Music Since 1950. Vienna, 1978.

LIST OF ELECTRONIC BOWED STRING WORKS

The following abbreviations designate the performing medium and mode of modification:

O Orchestra and Tape

E Ensemble and Tape

Q String Quartet and Tape D Duo or Trio and Tape

S Solo String Instrument and Tape

T Tape Recorder Modification Live or in Studio

M Modified Electronically Live or in Studio

P Processed Composition by Computer Algorithms

N No Electronics, Instrumental Effects Only

E Ahlstrom, David Sonata No. 8 for Contrabass, Tape, Balloons, and other instruments 1966 Disc: Pyramid Records, N.Y

Q Arel, Bulent Music for String Quartet and Tape 1962 Score: Composers Facsimile Edition, N.Y.

SM Austin, Larry Quadrants: Events/Complex Number Three for violin, "Daisy," and 4-channel tape 1972 Score: Bowdoin College Press; Brunswick, Maine (1975) E Austin, Larry Quadrants: Events/Complex Number Three for violin, "Daisy," and 4-channel tape 1972 Score: Bowdoin College Press; Brunswick, Maine (1975) S Badings, Henk Capriccio for Violin and Two Sound Tracks 1952 Score: Donemus Disc: Epic LC-3759 and Epic BC-1118 (1959) O Barlow, Wayne Soundscapes for orchestra and tape 1972 Score: American Music Center, N.Y.

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Q Bayle, Francois Archipel for string quartet and tape 1963

E Bayle, Francois Vapeur for bass clarinet, string bass, harp, and cymbals (combined on tape) 1962 Disc: Boite a Musique LD-072

E Becker, Giinther Rigolo for voice, flute, clarinet, violin, cello, piano and tape Score: Musikverlage Hans Gerig, Rhein, Germany (MCA Music, N.Y.) E Berio, Luciano Differences for flute, clarinet, harp, viola, cello, and tape recorder 1958-1960 Score: Universal Editions, N.Y. Disc: Philips 839.323 DSY; Time S/8002

Q Bester, Charles Twelve Short Movements for String Quartet and tape 1976 Score: American Music Center, N.Y.

D Bester, Charles Variations for violin and piano duo with electronic synthesizer 1973 Score: American Music Center, N.Y.

S Biggs, John Invention for viola and tape 1972 Manuscript only

E Birtwistle, Harrison Medusa for mixed ensemble and tape Score: Universal Editions, N.Y.

Q Borup-Jorgensen, Axel Torso, Op. 54 Conformations for string quartet and tape recorder Score: Dansk (Peters N.Y.) S Bottje, Will Gay Concert Piece for violin and tape 1968 Score: Composers Facsimile Edition, N.Y.

S Boyer Illusions I for cello and computer Disc: Redwood, N.Y. ES-10 "Computer Music from Colgate, Vol. I"

Q Bozic, Darijan Pop Art II for string quartet and tape Score: Edicije Drustva Slovenskih Skladateljev; Ljubljana, Yugoslavia D Bress, Hyman Fantasy for violin, piano and electronic sounds 1961 Disc: Folkways FM 3355, "The Violin" Vol. 5

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E Brown, Earle Times Five for flute, trombone, harp, violin, cello and tape 1963 Score: Universal Editions UE 15385 Disc: Bodte a Musique LD-072

EP Brin, Herbert Sonoriferous Loops for flute, trumpet, double bass, percussion and tape (computer generated) 1964 Score: University of Illinois

EP Brun, Herbert Non-Sequitur VI for flute, cello, harp, piano, two percussion and tape (computer generated) 1966 Score: University of Illinois

SM Buchla, Donald Silicon Cello for the 300 Series Electric Music Box and cello 1980

E Burge, David Aeolian Music for flute, clarinet, violin, cello, piano and tape Score: Bowdoin College Music Press; Brunswick, Maine

SM Cage, John Fontana Mix for any instrument and tape 1958 Score: Peters P6712 Disc: Turnabout TV-340465

QM Chadabe, Joel Soft Edges for string quartet and electronic modifying devices 1974 Live performance tape of the Concord String Quartet, SUNY at Albany, N.Y.

SM Chadabe, Joel Echoes for violin and tape Score: Composers Edition SUNY at Albany, N.Y.

SM Chihara, Paul Logs XVI for double bass and synthesizer Score: Peters P66364 Disc: CRI 269 SD

SM Chihara, Paul Logs XVI for double bass and pre-recorded bass Score: Peters P66364 Disc: CRISD 269

S Cope, David Angel's Camp II for violin and tape Score: SeeSaw Press N.Y.

QM Crumb, George Black Angels (Images I) for Electric String Quartet 1970 Score: Peters P66304 Disc: CRI SD-283

EM Crumb, George Night of the Four Moons for alto, alto flute, banjo, electric cello, and 1 percussion 1969 Score: Peters P66462 Disc: Columbia M-32739

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EM Crumb, George Songs, Drones and Refrains of Death for baritone, electric guitar, electric contrabass, electric piano/harpsichord, and two percussionists 1968 Score: Peters P66463

DM Crumb, George Vox Balanae for Three Masked Players-electric flute, electric cello, and electric piano 1971 Score: Peters P66466 Disc: Columbia M-32739

DP Cuomo, James Zetos 1 through Zetos 5 (Zetos 1 for trumpet, violin, cello, and trombone. Zetos 3 for five double basses and tape subtitled "A Garden of Glissandi Flowers") 1967 Score: University of Illinois

S Custer, Arthur Interface I for violin and tape 1969

S Custer, Arthur Found Objects No. 3 for double bass and tape Disc: Serenus 12045 Score: General Music Publishing Co., Hastings-on-Hudson, N.Y.

S Custer, Arthur Found Objects No. 8 for violin and tape Disc: Serenus 12045

E Davidovsky, Mario Synchronism No. 2 for flute, clarinet, violin, cello, and tape 1964-65 Score: McGinnis and Marx Disc: CRI SD-204

S Davidovsky, Mario Synchronism No. 3 for cello and tape 1964-65 Score: McGinnis and Marx Disc: CRI SD-204

T Drew, James The Maze Maker for cello and tape 1977 Score: Theodore Presser, Bryn Mawr, PA.

S Druckman, Jacob Synapse (for tape alone) Valentine (for double bass solo) 1971 Score: MCA Music, N.Y. Disc: Nonesuch H-71253

QM Druckman, Jacob Experimental String Quartet No. 2 1974 Unpublished live rehearsal tape of the Concord String Quartet S Eisma, Will Stripped of Outer String Quotes for violin solo and 4-track tape 1969

D Erb, Donald In No Strange Land for trombone, string bass and tape 1968 Disc: Nonesuch 71223

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EM Erb, Donald Reconnaissance for Moog, violin, piano, string bass and percussion 1967 Disc: Nonesuch 71223

ST Erickson, Robert Ricercar a 3 for two pre-recorded string bass tracks and performer 1967 Score: University of California Press, Los Angeles Disc: Ars Nova AN 1001

S Erlih, Devy Violstries for violin and tape 1963-64

E Felciano, Richard Crasis for flute, clarinet, violin, cello, harp, piano, percussion and electronic sounds 1975 Disc: CRI SD-349

E Felciano, Richard Chod for violin, cello, bass, piano, percussion and electronic sounds 1976 Disc: CRI SD-349

E Fennelly, Brian Evanescences for alto flute, clarinet, violin, cello and tape Score: Composers Facsimile Edition, N.Y.

ET Finney, Ross Lee Three Pieces for percussion, celeste, strings and tape recorder Score: Peters P66095

SM Fritsch, Johannes G. Partita for Viola, Contact Microphone, Recorder, and Filter Score: Edition Modern; Munich, Germany

E Fulkerson, James Co-ordinative Systems No. 4 for chamber ensemble (cello, contrabass, 3 percussion, clarinet, bass clarinet, flute, trombone and electronics) 1973 Score: Edition Modern; Munich, Germany

S Fulkerson, James Chamber Musics VIII for viola and pre-recorded tape 1976 Score: American Music Center

S Furrer, Franz Details IV for cello and tape Score: Edition Modern; Munich, Germany

E Gaburo, Kenneth Antiphony IV for voice, piccolo, bass trombone, double bass and electronics 1967 Disc: Nonesuch H-71199

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D Gazelle, Didier Tijdsverzwarting for flute, cello, and tape 1966 Tape: Rijksuniversiteit; Ghent, Belgium S Ghent, Emmanuel Divertimento for electronic violin and computer brass 1973 Score: American Music Center, N.Y. and Persimmon Press, N.Y.

S Glasow, Glen Rakka for electronically processed sounds and violin 1973 Disc: Desto 7144

DP Globokar, Vinko Koexistenz Pour Deux Violoncelles 1976

DM Goethals, Lucien Cellotape for piano, cello, contact mike, and side band modulator 1965 Disc: Ministere de L'Education Nationale et de la Culture; Bruxelles, Belgium

D Grosskopf, Erhard Dialectics for violin, viola, double bass, and tape Score: Moeck Verlag (Belwin Mills) SM Guy, Barry Statements II for solo amplified double bass (recorded in England) S Hannay, Roger Elegy for viola and tape Score: Media Press 3809

DM Harbison, John Bermuda Triangle for tenor sax, amplified cello and electric organ Score: American Composers Alliance (BMI) Disc: CRI 313 SD D Healey, Derek Stinging for treble recorder, cello, harpsichord, and magnetic tape 1971 Score: American Music Center, N.Y.

S Heller, Kenneth Labyrinth for cello and tape 1969 Disc: Orion ORS-7021

SO Henze, Hans Werner Violin Concerto No. 2 for violin, orchestra and tape 1971 Disc: Decca Headline HEAD 5

S Heussenstamm, George Pentalogue for double bass and four-track tape Score: SeeSaw Press, N.Y.

559

EP Hiller, Lejaren Algorithms I for flute, clarinet, bassoon, trumpet, violin, cello, double bass, harp, percussion and tape 1968 Score: Theodore Presser Co.; Bryn Mawr, PA. Disc: Deutsche Grammophon DGG 2543-005

EP Hiller, Lejaren and Baker, Robert Computer Cantata for soprano, chamber ensemble (including theremin, violin and viola) and tape Score: Theodore Presser Disc: CRI 310 SD

QP Hiller, Lejaren and Isaacson, Leonard Illiac Suite for String Quartet 1957 Disc: Heliodor H/25053

ST Hodkinson, Sydney One Man's Meat for solo double bass and performer- recorded sound track 1970 Score: Merion Music; Bryn Mawr, PA.

O Hovhaness, Alan And God Created Great Whales Op. 229 No. 1 for orchestra and tape Score: Peters P66322

E Hudson, Joseph Sonare for violin, flute, clarinet, piano, percussion and tape Disc: CRI 382 SD

EM Ichiyanagi, Toshi Activities for electronic ensemble and orchestra Score: Peters P66143c

OM Ichiyanagi, Toshi Life Music for orchestra, tape and effects Score: Peters P6873 Disc: SJV 1501 "Orchestral Space 1"

SM Ichiyanagi, Toshi Music for Strings No. 2, with Stanzas for violin and one cartridge violin with amplification 1966

S Ivey, Jean Eichelberger Aldebaran for viola and 2-channel tape 1972 Score: American Music Center and Fisher (1974) E Janson, Alfred Canon for chamber orchestra and tape Disc: Limelight LS-86061

ST Johnston, Ben Casta Bertram for contrabass, typewriter and tape recorders 1969 Disc: Nonesuch H-71237

D Kagel, Maurice Match for Three Players (two cellos, percussion and tape) Score: Universal Editions, N.Y.

560

DM Karlins, M. William Variations on "Obiter Dictum" for amplified cello, piano and percussion Score: American Composers Alliance (BMI) Disc: CRI 329 SD

S Keane, David Roger Study No. 1 for double bass and tape recorder 1963 Score: Columbus Studio at Ohio State University

S Keane, David Roger Elegy for double bass and tape recorder 1979 Score: American Music Center, N.Y.

SM Kessler, Thomas Violin Control for violin and electronic modifying devices 1975 Disc: GRM AM 821.10 France

Q Kirchner, Leon Electric String Quartet No. 3 1967 Score: Associated Music Publishers Disc: Columbia MS 7284

EP Koch, Frederick 5/9 five pieces for nine players (flute, clarinet, trumpet, violin, viola, cello, bass, percussion, electric and standard piano), tape and reader 1977 Score: American Music Center, N.Y.

E Kraft, Leo Dialectica for flute, clarinet, violin, cello and tape Score: American Music Center, N.Y.

D Krenek, Ernst Duo for flute, contrabass, and tape 1971 Score: Universal Edition (Presser); Bryn Mawr, PA.

SO Kupferman, Meyer Concerto for Cello, Tape, and Orchestra 1974 Score: American Music Center, N.Y.

S Lazarof, Henri Cadence II for viola and tape 1969 Score: Bote and Bock (Associated Music Publishers) ST Lentz, Daniel ABM (Anti-Bass Music) for contrabass, actor-speaker, off- stage piano, various media effects and tape

Q Lewis, Peter Tod Signs and Circuits: String Quartet No. 2 with tape 1969 Disc: CRI 392 SD Score: Composers Facsimile Edition, N.Y.

SM Lloyd, Gerald Satellites for electric violin (amplified violin) and tape 1963 SM Lockwood, Annea Deep Dream Dive for amplified string instrument 1976

561

S Luening, Otto Gargoyles for violin and tape 1964 Score: Peters P66002 Disc: Columbia MS 6566

O Luening, Otto Synthesis for orchestra and tape 1962 Score: Peters P66003 Disc: CRI S-219

O Luening, Otto and Vladimir Ussachevsky Concerted Piece for orchestra and tape 1960 Score: Peters P66010 Disc: CRI S-227

O Luening, Otto and Vladimir Ussachevsky A Poem of Cycles and Bells for orchestra and tape 1954 Score: Peters P66005 Disc: CRI-112

O Luening, Otto and Vladimir Ussachevsky Rhapsodic Variations for orchestra and tape 1953-54 Score: Peters P66006 Disc: Louisville 545-5

Q Lunetta, Stanley Wringer for two double basses, two cellos and tape Score: Composers/Performer Edition; Tampa, FL.

O Malec, Ivo Tutti for orchestra and tape 1962 Disc: Philips 836 894 DSY

S Maxfield, Richard Perspectives for violin and tape 1960

S Maxfield, Richard Perspectives II for La Monte Young for violin and tape 1961

S McLean, Barton Dimensions I for solo violin and tape 1974 Score: Composer's copy at the University of Texas, Austin

Q Miereanu, Costin Couleurs du Temps, second version for two violins, viola, cello and tape Score: Editions Salabert, N.Y.

S Mimaroglu, Ilhan Music plus One for violin and tape 1970 Score: Okra Music Corp., N.Y Disc: Turnabout TV-S 34429

D Mimaroglu, Ilhan La Ruche for cello, harpsichord, piano and tape 1976 Disc: Folkways FTQ 33951 O Mimaroglu, Ilhan Sing Me a Song of Songmy for jazz quintet, reciters, chorus, string orchestra, organ and tape 1971 Score: Composers/Performer Edition; Tampa, FL.

562

SM Neubert, David Moby Bass for double bass, echoplex, and tape 1975 Tape: Composer's copy at Wichita State University; Wichita, KA. Disc: Crest DN3281

ST Neubert, David Concert for Double Bass and Two Tape Recorders 1977 Tape: Composer's copy at Wichita State University; Wichita, KA.

SM Neubert, David Peacock Feathers for double bass, echoplex and tape 1979 Tape: Composer's copy at Wichita State University; Wichita, KA.

S Neubert, David Sound Design for double bass and synclavier 1980 Tape: Composer's copy at Wichita State University; Wichita, KA.

E Nguyen-Thien-Dao Tuyen Lua for two violins, viola, cello, flute, piano, percussion and tape Score: Editions Salabert, N.Y.

O Nono, Luigi Per Bastiana Tai-Yang Cheng for orchestra and tape 1967 Score: Ricordi Disc: Wergo 60067

O Nordheim, Arne Epitaffio for Orchestra and Tape 1961 Disc: Limelight LS-86061 and Philips 839 250 AY (1963) S Oakes, Rodney Hyporchema for violin and prepared tape 1979 Score: American Music Center, N.Y.

SM Pade, Elsa Marie Afsnit I, II, III for solo violin and three loudspeakers 1960

ON Penderecki, Krzysztof Threnody to the Victims of Hiroshima 1961 Score: Belwin-Mills BSS 42 800

ST Peck, Russell Time Being for solo violin with tape, or three violins 1970 Score: American Music Center, N.Y Disc: Columbia MS-7265

S Perera, Ronald Reflex for viola and electronic tape 1976 Score: E.C. Schirmer and American Music Center, N.Y.

S Pfeiffer, John Reflections of a String for Contraformer (and pre-recorded violin) 1974 Disc: Victor VICS-1371

D Pinkham, Daniel Musette for violin, cello and tape 1972 Score: Ione Press, Boston

563

S Randall, J.K. Lyric Variations for Violin and Computer 1968 Disc: Vanguard C-10057

ST Reich, Steve Violin Phase for violin and tape recorder 1967 Score: Universal Editions UE 16185 Disc: Columbia MS-7265

EM Reynolds, Roger ... Between... for strings, percussion, piano, and electronics (ring modulator, sound distribution device, and function generator) Score: Peters P66248

D Reynolds, Roger Traces for piano solo, flute, cello, and three tapes (6 channels of taped sound) 1969 Score: Peters P66247 Disc: CRI SD-285

S Rinehart, John Paths for amplified cello and synthesized sounds 1979 Score: American Music Center, N.Y.

D Rinehart, John Inlaid for violin, cello, piano, and synthesized sound 1978 Score: American Music Center, N.Y.

D Rovics, Howard Piece for Cello, Piano and Electronic Tape Score: American Composers Alliance (BMI) Disc: CRI 392 SD

S Sahl, Michael A Mitzvah for the Dead for violin and tape 1967 Disc: Vanguard C-10057

S Santoro, Claudio Mutation V and VI for violin and tape 1973 Score: Joseph Boonin, Inc., NJ

S Saperstein, David Composition for violin and tape 1968 Score: Composers Facsimile Edition, N.Y.

D Schwartz, Elliot Fantasy for flute, double bass, and tape Disc: Advance FGR-7

DT Sigurbj6rnsson, Thorkell Vixl for violin, clarinet, cello and the same instruments on tape Score: Islenzk

S Snow, Mary Helen Mandora for solo violin and tape 1968

SM Souster, Tim Spectral for viola and electronics 1972 Disc: Transatlantic TRAG 343

564

EM Stockhausen, Karlheinz Prozession for tam tam, viola, elektronium, piano filters, and potentiometers 1967 Score: Universal Editions UE 14812 Disc: Candide 31001

ST Stockhausen, Karlheinz Solo for performer (any instrument), four technical assistants, and tape recorders 1965-66 Score: Universal Editions UE 14261

DM Stockhausen, Karlheinz Opus 1970 for piano, electric viola, electronium, tam tam and tape 1969 Disc: Deutsche Grammophon DGG 139461

O Stockhausen, Karlheinz Mixtur for orchestra and electronics 1964 Score: Universal Disc: DGG 137 012 and DGG ST 643 546

O Stockhausen, Karlheinz Trans for orchestra and electronics 1971 Disc: DGG 2530 726

EM Strange, Allen Star Salon Strikers and Slider's Last Witness for amplified string trio and percussion 1974 Tape: Composer's Studio, Los Gatos, CA.

DM Strange, Allen Switchcraft for amplified double bass, flute, and engineer 1970 Tape: Composer's Studio, Los Gatos, CA.

E Subotnik, Morton Laminations for large, mixed ensemble and tape 1970 Score: Bowdoin College Music Press; Brunswick, ME (MCA Music No. 15428- 04444) Disc: Turnabout TV-S 34444 28

D Sydeman, William Malediction for tenor, string quartet and tape Score: Okra Music Corp., N.Y.

SM Sydeman, William Projections 1 for amplified violin and tape Score: Okra Music Corp, N.Y.

S Szathmary, Z. Con-tact-versations for violin and tape 1973

EM Takahashi, Yuji Bridges I for electric harpsichord, amplified cello, bass drum, and castanets Score: Peters P66234

SM Takahashi, Yuji Rosace I for amplified violin Score: Peters P66239

565

QP Tenney, James Stochastic String Quartet 1963 Score: University of Illinois

S Thienen, Marcel van De Profundis for violin and tape 1957

S Thome, Diane Alexander Boscovitch Remembered for viola, piano, and tape 1975 Score: American Music Center, N.Y.

O Varese, Edgard Deserts for orchestra and tape 1949-54 Score: Colombo NY-1794 Disc: Columbia MS-6362 and CRI S-268

O Varese, Edgard Ecuatorial for bass and orchestra (with two ondes martenots) 1934 Score: Columbo Disc: Nonesuch H 71269 and Vanguard VCS 10047

S Vega, Aurelio de la Tangents for violin and tape 1973 Disc: Orion 73128

S Vercoe, Barry Synapse for Viola and Computer 1976 Disc: CRI 393

O Watts, John Keepsakes for tape and orchestra 1978 Score: American Music Center, N.Y.

O Wehding, Hans-Hendrik Concertino for electronic sounds, string orchestra and tape recorder 1963 Disc: Eterna (Berlin, DDR) "Experimental Musik 1 (1963/64)" S White, Gary Centrum for violin and tape 1971

S Whittenberg, Charles Electronic Study No. 2 with contrabass Score: Associated Music Publishers, N.Y. Disc: Advance FGR-1

O Wright, Maurice Stellae new music for orchestra and electronic sound 1978 Score: American Music Center, N.Y.

SM Wuorinen, Charles Concerto for Amplified Violin and Orchestra Score: Peters P66511

O Wuorinen, Charles Orchestral and Electronic Exchanges for orchestra and tape Score: Peters P66388

566

QP Xenakis, Yannis

DP Xenakis, Yannis 1962

D Zupko, Ramon Score: Peters P66748

ST/4-1,080262 for string quartet 1962

Morsima-Amorsima for piano, violin, cello and double bass

Fixations for violin, cello, piano and tape Disc: CRI SD-375

1974

This article was the result of a grant from the National Endowment for the Humanities (NEH Summer Seminar on "Music and Technology" under the direction of Jon Appleton--Dartmouth College, 1980).

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Issue Table of ContentsPerspectives of New Music, Vol. 21, No. 1/2 (Autumn, 1982 - Summer, 1983), pp. 1-616Front Matter [pp.590-590]The Exhaustion of Western Art Music [pp.1-14]Notes from the Timbre Space [pp.15-22]Listening to The Eskimos of Hudson Bay and Alaska [pp.24-25]Forum: Improvisation [pp.26-111]Morton Feldman: One Whose Reality Is Acoustic [pp.112-113]The Reception of Arnold Schoenberg in the German Democratic Republic for H. R. [pp.114-137]Alexander Tcherepnin's Thoughts on Music [pp.138-144]Ussachevsky on Varse: An Interview April 24, 1979 at Goucher College [pp.145-151]Asynordinate Twelve-Tone Structures: Milton Babbitt's Composition for Twelve Instruments: Part One [pp.152-208]Relationships of Symmetrical Pitch-Class Sets and Stravinsky's Metaphor of Polarity [pp.209-240]Ren Leibowitz [pp.241-256]A Tonal Analog: The Tone-Centered Music of George Perle [pp.257-284]Luciano Berio, Sequenza VI for Solo Viola: Performance Practices [pp.286-293]"Any Bunch of Notes": A Lecture [pp.295-310]Transformational Techniques in Atonal and Other Music Theories [pp.312-371]Report from Venice (1982) [pp.372-377]The Eighteenth Annual Festival/Conference of the American Society of University Composers: The Composer in the University Reexamined [pp.378-392]Report from Buffalo - The North American New Music Festival 1983 [pp.393-401]"-ISMS": New York: "Horizons '83" [pp.402-406]George Rochberg: Progressive or Master Forger? [pp.407-409]Luigi Dallapiccola: Review of New Recordings [pp.410-416]untitled [pp.417-424]untitled [pp.425-430]Combinatoriality without the Aggregate [pp.432-486]Roland-Manuel and the 'Poetics of Music' [pp.487-505]Pythagoras and Pierrot: An Approach to Schoenberg's Use of Numerology in the Construction of 'Pierrot lunaire' [pp.506-534]Group Tables and the Generalized Hexachord Theorem [pp.535-539]Electronic Bowed String Works: Some Observations on Trends and Developments in the Instrumental/Electronic Medium [pp.540-566]Conversation in Two Parts with Rachel Rosenthal [pp.567-581]Music and the Silent Film [pp.582-584]Dancing Musicians [pp.585-589]Part II: Platonism, and Mozartian Metaphysics [pp.591-598]Back Matter [pp.599-616]