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The Holmes Archive of Electronic Music

Podcast The Holmes Archive of Electronic Music
Thom Holmes
Thom Holmes is your curator and guide to vintage electronic music recordings and audio experimentation. Drawing from his collection of vintage electronic music ...

Available Episodes

5 of 100
  • Chapter 05, The Physics of Musical Sound
    Episode 143 Chapter 05, The Physics of Musical Sound. 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.   Playlist   Time Track Time* Start Introduction –Thom Holmes 01:28 00:00 John Cage, “Cartridge Music” (1960). Uses phono cartridges to amplify small sounds. 19:57 01:30 Robert Ashley, “The Wolfman” (1964). Uses a mike inside of the vocal cavity as a feedback and distortion chamber for audio that is highly amplified. 15:27 21:26 Beaver and Krause, “Nonesuch Guide to Electronic Music” (1968). Two complete albums of examples from this landmark album. Includes examples of synthesis and principles using the Moog Modular synthesizer. The first track is a composition called “Peace Three” that is repeated as the final track of the album; in this case I only play it once at the end of the album. See the image below for a scan of the album’s title sequence. 45:16 37:00 Steve Reich, “Pendulum Music” (1968). Manipulates the feedback properties of a microphone swinging over a loudspeaker. 05:54 01:22:16 David Tudor, “Toneburst” (1975). Incorporates an internal feedback loop where Tudor fed the output of his handbuilt instruments into other. Partly analog, partly digital. 29:19 01:28:06 Jason Kahn, Toshimaru Nakamura, “Track 1” from Repeat (1999). No-input feedback, which is basically a feedback loop produced without external (acoustic) input. All digital. 08:02 01:57:26 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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  • Chapter 04, Electronic Music Composition by Process
    Episode 142 Chapter 04, Electronic Music Composition by Process. 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.   Playlist   Time Track Time* Start Introduction –Thom Holmes 01:31 00:00 Yves Klein, “Monotone-Silence Symphony” (1947). I could not find any recorded versions of this piece, so I produced this realization of my own to capture the feel and nature of this process work. Klein conceived this as performance art in which an orchestra would only play a single note, continuously, for 20 minutes followed by another 20 minutes of silence. I’ve examined the score and can see that Klein also intended that the same note could be played in different octaves. The playing would have been staged so that one group of musicians could overlap another, both for reasons of fatigue but also to allow smooth transitions for the wind instruments because players would need to take a breath. My version includes electronic instruments for multiple parts, each part playing the same note, often in different octaves. The introduction of instrumental groups was planned in stages, each overlapping the previous grouping, gradually shortening in duration as the piece goes on. 40:03 01:34 Steve Reich, “It’s Gonna Rain” (1965). Process piece using tape loops and phasing. 08:03 41:38 La Monte Young and Marian Zazeela, “31 VII 69 10:26 - 10:49 PM” (1969). Early work employing electronic drones. Eponymous untitled album popularly known as "The Black Record" or "The Black Album" Mine is an original copy. The cover is black gloss print on matt black and very hard to read. Numbered edition limited to 2800 copies of which numbers 1-98 are dated and signed by the artists. This work “was recorded at the date and time indicated in the title, at Galerie Heiner Friedrich, München. The work “31 VII 69 10:26-10:49 PM” is a section of the longer work: Map Of 49's Dream The Two Systems Of Eleven Sets Of Galactic Intervals Ornamental Lightyears Tracery. Play this side at 33 1/3 rpm only.” Early work employing electronic drones. By the mid-sixties, Young and his partner Marian Zazeela were creating music for electronic drones as an extension of their group, The Theatre of Eternal Music. Using a Heathkit sine wave oscillator and later Moog modules as sources, they created drone pieces that employed “extended duration time signatures” and “long sustained tones, intervals, triads and chords to create the musical texture.” A reissue has now occurred on the label Super Viaduct. 22:49 49:24 Terry Riley, “A Rainbow in Curved Air” (1969). Minimalist process work for electronic organ. 18:46 01:12:08 Steve Reich, “Four Organs” (1970). Process piece for four electronic organs. 24:11 01:31:04 Brian Eno, “Discreet Music” (1975). Process piece for synthesizers. 31:35 01:55:12 David Behrman, “Figure in a Clearing” (1977). Process piece using the KIM- 1 microcomputer 19:13 02:25:30 Laurie Spiegel, “A Harmonic Algorithm” (1980). Self-generating program running on an Apple II computer. 03:08 02:44:48 Alvin Lucier, “Music for Piano with One or More Snare Drums” (1990). Process piece for amplified piano and snare drum. 09:20 02:47:48 Marina Rosenfeld, “Two (Joy of Fear)” (2005). Process piece for a timed improvisational live performance. 10:22 02:56:50   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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  • Chapter 03, How Electronic Music is Composed.
    Episode 141 Chapter 03, How Electronic Music is Composed. 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.   Playlist   Time Track Time* Start Introduction –Thom Holmes 01:26 00:00 Pierre Henry, “Antiphonie” (1953). Early serial tape composition. 03:00 01:30 Edgard Varese, “Poème électronique ” (1958). Classic tape composition using montage. 08:08 04:30 Iannis Xenakis, “Concret PH” (1958). Modified and amplified small sounds. 02:41 12:32 Pauline Oliveros, “Sound Patterns” (1961. Electronically modified voices and electronics on tape. 04:00 15:12 İlhan Mimaroğlu, “White Cockatoo” (1966). Tape composition using abstract sounds applied to sonata form. 04:23 19:10 Karlheinz Stockhausen, “Telemusik” (1966). Tape composition using world music recordings; also a component for included for live performance. 17:38 23:30 Karlheinz Stockhausen, “Hymnen” (1966– 67). Classic tape composition. 29:53 41:08 David Tudor, “Rainforest IV” (1973). Sounding objects, transducers, and contact microphones. 25:12 01:11:12 Ruth Anderson, “Points” (1973– 74). Synthesis using sine tones. 05:33 01:36:22 Eliane Radigue, “Adnos I– III” (excerpt) (1973– 80). Minimalist drone music for synthesizer; the full length is over an hour. 33:52 01:41:46   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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  • Chapter 02, Listening to Electronic Music
    Episode 140 Chapter 02, Listening to Electronic Music. 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. Playlist   Time Track Time Start Introduction –Thom Holmes 01:27 00:00 David Tudor, “Anima Pepsi,” from the Pepsi Pavilion (1970) 23:03 01:32 Pauline Oliveros, “Big Mother is Watching You” (1966) 33:45 24:34 John Cage, “Fontana Mix” (1958) 11:34 58:18 Tetsu Inoue, “Kaze” (2007) 07:26 01:09:50   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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  • Chapter 01, Electronic and Experimental Music, Recommended Works
    Episode 139 Chapter 01, What is Electronic Music? Recommended Works from Electronic and Experimental Music  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. Playlist Time Track Time* Start Introduction –Thom Holmes 01:16 00:00 Pierre Schaeffer, Cinq Études De Bruits Étude Violette (1948). Example of musique concrète. 03:25 01:16 Pierre Schaeffer and Pierre Henry, Bidule en Ut (1950). Example of musique concrète. 02:11 04:36 Herbert Eimert, Klangstudie I (1952). Example of elektronische music. 03:57 06:46 Herbert Eimert and Robert Beyer, Klang Im Unbegrenzten Raum (1952). Example of elektronische music. 10:33 10:40 Karlheinz Stockhausen, Studie I (1953-54). Example of elektronische music. 10:00 20:59 Karlheinz Stockhausen, Gesang Der Jünglinge (1955-56). Example of electroacoustic music. 13:40 30:28 Else Marie Pade, Symphonic Magnetophonique (1958). Example of electroacoustic music. 19:28 43:38 Edgard Varèse, Poème Électronique (1958). Example of organized sound. 08:08 01:02:54 Max Mathews, Numerology (1960) 02:45 01:11:05 Daphne Oram, Four Aspects (1960). Example of Oramics or electroacoustic music. 08:15 01:13:36 Henri Pousseur, Trois Visage de Liège (1961). Example of electroacoustic music. 17:54 01:21:44 James Tenney, Collage No.1 (Blue Suede) (1961). Example of electroacoustic music. 03:27 01:39:32 Delia Derbyshire, Falling (1964). Example of radiophonic music. 08:45 01:42:58 Ann Hamilton, Mantle (1998). Example of sound art. 32:09 01:51:39   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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About The Holmes Archive of Electronic Music

Thom Holmes is your curator and guide to vintage electronic music recordings and audio experimentation. Drawing from his collection of vintage electronic music recordings spanning the years 1930-1985, each episode explores a topic or theme of historical interest. Holmes is the author of the book, Electronic and Experimental Music, sixth edition, 2020.
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