MOTM

steve,
deep thoughts and valid points to consider.......
gee, i love this list ! :^)
best,
dave v.

Interesting idea, one I've put some thought into as well. IMHO, being a
virtouso involves not just being a good player, but having that extra
quality of "effortless mastery." I don't remember where I first heard that
term, but it's one that has stuck in my mind over the years. I'm sure you
know what I mean, that quality of being so connected with the instrument
that the creation just seems to flow. It's like Michael Jordan, or Herbie
Hancock, or any of a hundred different geniuses I could name. So, who are
the synth players with this quality? I honestly don't know. The virtousos
that generally come to mind aren't using modulars, and if they are, are
using them in fairly mundane ways. I mean, no one can doubt Keith Emerson's
keyboard ability, but I wouldn't say he's a genius at getting synth sounds,
in fact I thought most of his sonds were pretty lame. Jan Hammer definitely
had a thing with the Minimoog as a performance instrument, but again it was
his keyboard phrasing that made it work more than the "synth" qualities,
though I think he had some very cool sounds. Joe Zawinul? Some of the
Weather Report stuff had a use of electronics that was, I think, very
innovative for the time, and didn't depend on traditional keyboard
virtuosity. Wayne Horvitz blew me away in the '80's, doing free improv with
a DX-7, reprogramming it from the front panel on the fly and making great
music at the same time. Maybe some of the Techno cats, like Aphex Twin,
Richie Hawtin or Carl Craig? There's a German free-improv player named
Thomas Lehn who uses an ARP 2600, I haven't heard him yet, but have been
told by people I trust that he's the most interesting electronic improviser
EVER. I'm meaning to order one of his CD's, I'll report when I do hear him.

I've had occaisional glimpses of this kind of effortless mastery when
playing, I'm sure everyone has had that feeling of being totally "in the
zone", getting to that place where everything you do is musical, and it
just flows. It's probably rarer on the modular, but I've had a few of those
weird late-night patching sessions, as I'm sure we all have. I think a
virtouso is someone who can tap into that kind of space every time they
play, not just the rare glimpses the rest of us get.

I think that the main thing it takes to develop this effortless mastery is
time on the instrument. Carlos and Tomita probably spent more time on
modulars than just about anyone else (who else is there from that
generation of players who worked so extensively with modulars?  Subotnick?
Richard Teitlebaum maybe? Pat Gleeson? Larry Fast?). Since the modular is
still a pretty new instrument, and the MOTM in particular, maybe we just
haven't had the time to develop this level of mastery. Maybe we're the
virtuosos in training....

>From: revtor@...
>
>Has anyone thought of a modular synth in terms of being an instrument in its
>own?  Im sure you have, but as was mentioned in a previous post the
>similarities between a piano and a modular, many sounds are able to be wrung
>out of both by a skilled player.  I know that comparing these two is not the
>most useful comparison, but consider the piano.  88keys.  Keystrokes cause
>felt tipped hammers to strike the keys. Same in all pianos.  There have been
>many virtuosos.  Thousands of pages have been written on piano construction,
>playing technique and actual music.  Now think about how a piano sounds when
>98% of pianists play it.  The same as any other piano.  These virtuosos are
>indeed able to master it and bring out that sound tht the other 98% just
>can't.  Now consider the modular.  Can there be a virtuoso? (Carlos and
>Tomita are generally considered to be the closest thing)  First of all no
>modular is the same.  No controller is standard.  No modules comprise a
>standard modular.  "Playing" a modular therefore means nothing.  In a piano
>you have no other option than the keys.  (Except those who bang on the case,
>pluck the strings, throw things in there etc.. this doesnt count)  but in a
>modular you can equip it with a keyboard and this imposes piano like
>standards on it.  Keyboard chops shouldn't define ones ability in playing a
>modular.  Could there ever be a virtuoso?  Virtuoso: 1: An experimenter or
>investigator, esp. in the arts or sciences (we are therefore all virtuosos)
>3: One who excels in the technique of an art.     So if we are going to
>follow with this usual definition of virtuoso, then we have to define what
>the technique behind using/playing a modular is.  Is it being able to patch
>up a sound that pops up in ones mind and have it be almost perfect when you
>turn up the volume?  or is it one who is able to go deep into the modular
>making an evolving sound for hours that is never stagnant and not overly
>repetitious?  I guess these are two things that i'd like to be able to do..
>Who is the best programmer/patcher you know?   I guess there can never be a
>virtuoso of a modular.. there are just too many possibilities    thats why we
>love them so much I guess.......
>anyone have any thoughts on this???
>damn that was long..
>~Steve
>(I have one module so far!!)
>
>------------------------------------------------------------------------
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____________________________________________
Dave Trenkel : improv@...
Minus Web Site: http://listen.to/minusmusic
Minus MP3's: http://www.mp3.com/-minus-
____________________________________________

In a message dated 03/24/2000 1:37:59 PM, improv@... writes:

<< The virtousos that generally come to mind aren't using modulars, and if 
they are, are using them in fairly mundane ways. >>

Remember the days of the synthesizer programmers?  There used to be a "sound 
virtuoso" who would get the sounds for the "artist" to play.  They were not 
one and the same.

Ivan

>From: ivancu@...
>
>In a message dated 03/24/2000 1:37:59 PM, improv@... writes:
>
><< The virtousos that generally come to mind aren't using modulars, and if
>they are, are using them in fairly mundane ways. >>
>
>Remember the days of the synthesizer programmers?  There used to be a "sound
>virtuoso" who would get the sounds for the "artist" to play.  They were not
>one and the same.
>
True. And one of things about the modulars is that the line between
programming and playing gets pretty blurry. Most of my favorite patches
jsut kind of play themselves, lots of interacting controllers, LFO's and
sequencers, etc that constantly evolve the sound.

I know some local, very good keyboardists that can play absolute circles
around me, but when they play synths, they tend to just use presets. I've
actually offered to program sounds for a couple of them, but the general
response has been that that is unneccesary. I try to get the point across
that part of developing an individual voice on the synth is developing the
sounds themselves, but the concept just seems foreign to them. So I gave
up, and just develop my own sounds for my own use.


____________________________________________
Dave Trenkel : improv@...
Minus Web Site: http://listen.to/minusmusic
Minus MP3's: http://www.mp3.com/-minus-
____________________________________________

In a message dated 00-03-24 13:38:05 EST, you write:

<< who else is there from that
 generation of players who worked so extensively with modulars?  Subotnick?
 Richard Teitlebaum maybe? Pat Gleeson? Larry Fast?).  >>



well, i would have to say that all these gentlemen have done interesting work 
with modulars. i would also have to say that they`ve all done less than 
stellar work also.
still, they (and others like douglas leedy, john wiggins ) have provided ( or 
still do provide ) a strong foundation to build on.
best,
dave v.

>From: davevosh@...
>
>In a message dated 00-03-24 13:38:05 EST, you write:
>
><< who else is there from that
> generation of players who worked so extensively with modulars?  Subotnick?
> Richard Teitlebaum maybe? Pat Gleeson? Larry Fast?).  >>
>
>
>
>well, i would have to say that all these gentlemen have done interesting work
>with modulars. i would also have to say that they`ve all done less than
>stellar work also.

While that's definitely true of Gleeson and Subotnick, I haven't heard
anything by Teitlebaum that hasn't been at least interesting. In fact, I
think he's one of the few modular pioneers who made the switch to digital
and continued doing good stuff, unlike Subotnick whose career can be very
easily divided (pre-FM = great, post-FM = not).

>still, they (and others like douglas leedy, john wiggins ) have provided ( or
>still do provide ) a strong foundation to build on.
>best,
>dave v.

Leedy and Wiggins are two names I haven't heard before, and it sounds like
I should be listening to them! Can you recommend some records?

____________________________________________
Dave Trenkel : improv@...
Minus Web Site: http://listen.to/minusmusic
Minus MP3's: http://www.mp3.com/-minus-
____________________________________________

In a message dated 00-03-25 10:40:40 EST, you write:

<< 
 Leedy and Wiggins are two names I haven't heard before, and it sounds like
 I should be listening to them! Can you recommend some records?
 
 _ >>


dave,
as far as i know, douglas leedy made one "buchla" record way back in the 
seventies (?) called " entropical paradise". it was a 3 lp set. i bought mine 
in the early 80`s at a used record store ( so, sadly its not in the best 
condition ) for $1.50.  very much worth the money !!!!! :^)  mostly "dream 
machine" type of compositions but very enjoyable.
john wiggins has been a friend of mine for years. he started out doing indy 
cassettes and i think most of his stuff is available on cd now. he does a 
very eclectic mix of tape manipulations, modular analog sounds and treatments 
( he has a serge and is the person who i sold my serge to years back - his 
system is about 13 panels ) and some computer stuff. very much worthwhile 
checking out !!!  you can check on availability from him at :
gwiggins@...  ----- on the subject line put : attn: john, senior
another worthwhile artist is don slepian. he does more of a new age styled 
thing but is a remarkable keyboardist and synthesist and another long time 
friend. he also has cd`s available. take a look at :
www.donslepian.com or www.syntheticpleasure.com
his email is : slepian@...

if forced to make a definitive statement, i`d say john is the better 
synthesist and don is a better keyboardist. still, both are worth a listen !
best,
dave v.

In a message dated 00-03-25 10:40:40 EST, you write:

<< I haven't heard
 anything by Teitlebaum that hasn't been at least interesting. In fact, I
 think he's one of the few modular pioneers who made the switch to digital
 and continued doing good stuff, unlike Subotnick whose career can be very
 easily divided (pre-FM = great, post-FM = not). >>



dave,
true !
best,
dave v.

I really liked much of what was said regarding this thread, most of what I 
added was of the "amen brother!" variety, but I decided to include a lot of 
the previous responses for "the sake of clarity." I'd like to hear more from 
others in these regards.

In a message dated 3/23/2000 6:44:27 PM, revtor@... writes:

>Has anyone thought of a modular synth in terms of being an instrument in
>its 
>own?  


You've come to the right place!

 Now think about how a piano sounds
>when 
>98% of pianists play it.  The same as any other piano.  These virtuosos
>are 
>indeed able to master it and bring out that sound tht the other 98% just
>can't.  Now consider the modular.  Can there be a virtuoso? (Carlos and
>Tomita are generally considered to be the closest thing)  First of all
>no 
>modular is the same.  No controller is standard.  No modules comprise a
>standard modular.  "Playing" a modular therefore means nothing.  In a piano
>you have no other option than the keys.  (Except those who bang on the
>case, 
>pluck the strings, throw things in there etc.. this doesnt count)  but
>in a 
>modular you can equip it with a keyboard and this imposes piano like 
>standards on it.  Keyboard chops shouldn't define ones ability in playing
>a 
>modular.  Could there ever be a virtuoso?  Virtuoso: 1: An experimenter
>or 
>investigator, esp. in the arts or sciences (we are therefore all virtuosos)
>
>3: One who excels in the technique of an art.    


I did look up the words "virtuoso" and "virtuosity" and was surprised at the 
different meanings they have. But in typical usage (especially musical) they 
connote a certain dexterity and repeatability of an "intuitive nature" 
regarding performance. I think one of the least important aspects of EM (as 
EM) is this limited notion of performance. For that reason I think the word 
virtuoso is the wrong choice. 

I think of VC EM as being much closer to composition (deliberate choices 
rather than practiced dexterity). While occasionally people may refer to a 
composer as a virtuoso, I think it is much more common to refer to composers 
as "genius" or similar, and performers as virtuoso. It seems a very 
interesting coincidence that in Art Music, we have a significant rise in EM 
during a time (the last fifty years especially) when the division between 
composer and performer is so great (i.e., one typically either composes OR 
performs) -- it is also interesting that other types of music have been more 
accommodating to "composer/performer" types of music during this period in 
the Art Music world.

I don't like to use the term "genius" since it seems almost devoid of meaning 
at this time (e.g., "comedic genius Adam Sandler..."). I also think that we 
are at a time in VC EM much more like a small specialized renaissance in 
Europe (work with me here people), where we have a significant number of 
talented people using a (frequently small) box of generalized tools to 
accomplish very different ends. As such, I think a more appropriate term 
would be the related word, ingenuity. Maybe we're all just craftsmen (or 
craftspersons -- or maybe just crafty).
  

Is it being able to patch
>up a sound that pops up in ones mind and have it be almost perfect when
>you 
>turn up the volume?  

I think this is very useful, since it minimizes the setup time.

or is it one who is able to go deep into the modular
>making an evolving sound for hours that is never stagnant and not overly
>repetitious?  

This is something I, like several others on this list, am very interested in, 
and when one can make interesting music like this I believe it definitely 
shows great ingenuity.

I guess these are two things that i'd like to be able to
>do..  
>Who is the best programmer/patcher you know?   

Me, of course! But I don't get out much these days.

I guess there can never
>be a 
>virtuoso of a modular.. there are just too many possibilities   
>~Steve   
>(I have one module so far!!)


It would be very difficult to be a virtuoso with one module, you need at 
least three!


In a message dated 3/24/2000 11:38:14 AM, improv@... writes:

>Interesting idea, one I've put some thought into as well. IMHO, being a
>virtouso involves not just being a good player, but having that extra
>quality of "effortless mastery." I don't remember where I first heard that
>term, but it's one that has stuck in my mind over the years. I'm sure you
>know what I mean, that quality of being so connected with the instrument
>that the creation just seems to flow. It's like Michael Jordan, or Herbie
>Hancock, or any of a hundred different geniuses I could name. So, who are
>the synth players with this quality? I honestly don't know. The virtousos
>that generally come to mind aren't using modulars, and if they are, are
>using them in fairly mundane ways. I mean, no one can doubt Keith Emerson's
>keyboard ability, but I wouldn't say he's a genius at getting synth sounds,
>in fact I thought most of his sonds were pretty lame. Jan Hammer definitely
>had a thing with the Minimoog as a performance instrument, but again it
>was
>his keyboard phrasing that made it work more than the "synth" qualities,
>though I think he had some very cool sounds. Joe Zawinul? Some of the
>Weather Report stuff had a use of electronics that was, I think, very
>innovative for the time, and didn't depend on traditional keyboard
>virtuosity. Wayne Horvitz blew me away in the '80's, doing free improv
>with
>a DX-7, reprogramming it from the front panel on the fly and making great
>music at the same time. Maybe some of the Techno cats, like Aphex Twin,
>Richie Hawtin or Carl Craig? There's a German free-improv player named
>Thomas Lehn who uses an ARP 2600, I haven't heard him yet, but have been
>told by people I trust that he's the most interesting electronic improviser
>EVER. I'm meaning to order one of his CD's, I'll report when I do hear
>him.
>
>I've had occaisional glimpses of this kind of effortless mastery when
>playing, I'm sure everyone has had that feeling of being totally "in the
>zone", getting to that place where everything you do is musical, and it
>just flows. It's probably rarer on the modular, but I've had a few of those
>weird late-night patching sessions, as I'm sure we all have. I think a
>virtouso is someone who can tap into that kind of space every time they
>play, not just the rare glimpses the rest of us get.
>
>I think that the main thing it takes to develop this effortless mastery
>is
>time on the instrument. Carlos and Tomita probably spent more time on
>modulars than just about anyone else (who else is there from that
>generation of players who worked so extensively with modulars?  Subotnick?
>Richard Teitlebaum maybe? Pat Gleeson? Larry Fast?). Since the modular
>is
>still a pretty new instrument, and the MOTM in particular, maybe we just
>haven't had the time to develop this level of mastery. Maybe we're the
>virtuosos in training....


Great points Dave! I have to give Emerson a bit more credit however, since I 
remember him doing some interesting timbre exploration (and the like) through 
works like Carlos Chavez's piece Toccata along with several others. He is 
such a great keyboard player, I think this part of his early work was 
overlooked. I have to admit not listening to any of this work for years, and 
not having heard anything he's done since the mid seventies. 

And I agree with your points about Horvitz, Zawinul, Hancock, Titlebaum, 
Gleeson, and Subotnick too. Since I don't think of what I do as composing for 
EM, but just making general music (using whatever instrument I'm thinking of 
at the time), I'm not very interested in thinking about modular (only) 
geniuses. So I might add to the list: the Barons (Forbidden Planet 
soundtrack), Xenakis, Varese, Ussachevsky, Henri and Schaffer (and digital 
guys like Carl Stone, and John Oswald's Plunderphonics series -- a rare great 
use of sampling!) as well as non-electronic guys like: Cowell, Nancarrow, 
Penderecki, Ligeti, Partch, Pharaoh Sanders, Hendrix,  who've all reshaped 
the palette of musical gestures including those of the electronic studio.

But your point about EM being such a recent innovation is a great one. With a 
piano in a large proportion of households, it's easy to imagine that keyboard 
virtuosi are encouraged greatly, while EM geniuses are lucky to have the 
chance to find their own mode of expression.

In a message dated 3/24/2000 4:56:57 PM, ivancu@... writes:

>Remember the days of the synthesizer programmers?  There used to be a "sound
>virtuoso" who would get the sounds for the "artist" to play.  They were
>not 
>one and the same.

One of my old instructors (Rod Oakes, for anyone who's interested) was the 
first American to visit/use several studios behind "the iron curtain" in the 
early 80s. During these trips, he also worked at several studios in Europe 
where Stockhausen had previously worked. He came back with some disappointing 
stories from engineers who'd told him how Stockhausen would specify a basic 
patch to the engineers, and then go off to have coffee while they set it up 
-- please tell me more about the "sound virtuoso."

In a message dated 3/24/2000 5:23:16 PM, improv@... writes:

>True. And one of things about the modulars is that the line between
>programming and playing gets pretty blurry. Most of my favorite patches
>jsut kind of play themselves, lots of interacting controllers, LFO's and
>sequencers, etc that constantly evolve the sound.
>
>I know some local, very good keyboardists that can play absolute circles
>around me, but when they play synths, they tend to just use presets. I've
>actually offered to program sounds for a couple of them, but the general
>response has been that that is unneccesary. I try to get the point across
>that part of developing an individual voice on the synth is developing
>the
>sounds themselves, but the concept just seems foreign to them. So I gave
>up, and just develop my own sounds for my own use.

When I was first taking EM classes about 20 years ago, there seemed to be a 
few kinds of students: 1) the people who'd studied music (theory and 
composition) a fair bit and came to EM because of either the timbral 
possibilities or the compositional possibilities (i.e., sequencers), 2) 
musicians (keyboard or guitar players generally) who wanted to expand their 
timbral palate wrt their instruments, 3) people who hadn't played an 
instrument previously, but were VERY interested in music. I remember thinking 
how those people who fell into the second category often made the least 
interesting music, and quickly dropped out of the classes when confronted 
with the large EMu modular.

In a message dated 3/25/2000 8:40:33 AM, improv@... writes:

>While that's definitely true of Gleeson and Subotnick, I haven't heard
>anything by Teitlebaum that hasn't been at least interesting. In fact,
>I
>think he's one of the few modular pioneers who made the switch to digital
>and continued doing good stuff, unlike Subotnick whose career can be very
>easily divided (pre-FM = great, post-FM = not).

It used to be the distinction made around Subotnick was pre/post ghost 
electronics. Since I had a recording instructor who built ghost boxes for 
Subotnick, I've always erred on the side of empathy for what he was doing. I 
have to admit that I'm not very familiar with much of what he's done over the 
past decade or so, but I did/do admire his efforts in the ghost box area, in 
that when electronics actually coexist with standard orchestral 
instrumentation, it will indicate a significant maturity of both composers 
and audiences understandings of the possibilities.

As I said, I'd like to hear more in this line of inquiry.
Best!
John (virtuoso W-annabe) Barlow

In a message dated 3/26/2000 8:40:40 PM, jlarryh@... writes:

>This looks like one of the letters I
>sent you that sent you cursing my typing skills... HA HA HA

But hell! It took me like three days to write the thing, you were sending me 
like one of these an hour. What I did like though, was how you'd title one 
"the best idea ever!" followed immediately by "forget that stupid last idea 
-- this one's great!" Do you know how hard I work to do that kind of gag!

Now then, put your typing skills to good use and give us a good review of the 
conference.

BTW, I got the stuff yesterday and I PROMISE to think about maybe sending 
your stuff out sometime before some unspecified event distant in the future! 
And you can take that to the bank!
JB

In a message dated 00-03-26 22:34:18 EST, you write:

<< the Barons (Forbidden Planet 
 soundtrack), Xenakis, Varese, Ussachevsky,  >>


john,
some more of my favorites!!!!! along with (mentioned non-electronic) harry 
partch and stockhausen.
it may be due to my age and what i was originally exposed to but i have a 
definite fondness for the late fifties through late sixties era of e.m..
best,
dave v.

> From: jwbarlow@...
>
> --- snip ----- <
> 
> As I said, I'd like to hear more in this line of inquiry.
> Best!
> John (virtuoso W-annabe) Barlow

Hell John, you already said it all.  This looks like one of the letters I
sent you that sent you cursing my typing skills... HA HA HA

>From: davevosh@...
>
>In a message dated 00-03-26 22:34:18 EST, you write:
>
><< the Barons (Forbidden Planet
> soundtrack), Xenakis, Varese, Ussachevsky,  >>
>
>
>john,
>some more of my favorites!!!!! along with (mentioned non-electronic) harry
>partch and stockhausen.

I've been digging the new CD re-issue of Partch's Delusion of the Fury a
LOT lately. I bought the old Columbia 3-lp set about 15 years ago at a used
record store, I hadn't even heard of Partch, I just dug the wierd
instruments on the cover. Loved the record, it remains my favorite Partch.
Only problem with the CD re-issue is it doesn't the Partch demonstration
lp.

____________________________________________
Dave Trenkel : improv@...
Minus Web Site: http://listen.to/minusmusic
Minus MP3's: http://www.mp3.com/-minus-
____________________________________________

In a message dated 00-03-27 00:07:43 EST, you write:

<< I bought the old Columbia 3-lp set about 15 years ago  >>


dave,
i have this also except mine was bought new around 20 years ago. fantastic 
music and instruments !
best,
dave v.

In a message dated 3/26/2000 10:07:42 PM, improv@... writes:

>I've been digging the new CD re-issue of Partch's Delusion of the Fury
>a
>LOT lately. 


Good to know they are reissuing some of that stuff -- it seemed not too long 
ago, most of the Partch stuff you could find was new recordings. It's good 
that people are continuing to work on his stuff, but I do like the originals.

I bought the old Columbia 3-lp set about 15 years ago at a
>used
>record store, I hadn't even heard of Partch, I just dug the wierd
>instruments on the cover. Loved the record, it remains my favorite Partch.
>Only problem with the CD re-issue is it doesn't the Partch demonstration
>lp.

Well, sometime between when Vosh bought his new copy and you bought your used 
copy, I bought a brand new copy of Delusion of the Fury (I'll also recommend 
The Bewitched and Revelation In The Courthouse Park). When I got home and 
opened it up, "Hey! Where's the demo record?" It turns out Columbia did 
release the LP as a double LP too. It's worth it to get the demo record if 
only to hear him say, in that great fluttering craggy voice, "and, the bass 
wang!"

Recently, I was finally in a good record store and had the presence of mind 
(and cash) to finally pick up the soundtrack CD to Forbidden Planet. Good to 
hear it apart from the movie -- I wish there were more high end in the 
recording! I'm now somewhat back in tune with getting historical experimental 
music for my collection -- I was also able to get a copy of Penderecki's 
Threnody for the Victims of Hiroshima, which had been on my list for over 
twenty years. Anyone want to list their "top ten" historical or influential 
electronic/experimental recordings?

I also wouldn't mind some discussion (offlist if that's better for the other 
MOTM people) about sci-fi soundtracks -- I remember someone (Ken?) was REALLY 
into them and had the Irwin Allen boxed set for example.

John ("No more messages! Too many messages!") Barlow

In a message dated 00-03-27 22:03:20 EST, you write:

<< Forbidden Planet. >>



john,
i have the lp of this. some of it is really fantastic ! i agree, just 
listening to it apart from the movie, gives a different feeling altogether.
never heard of the penderecki piece. i`ve heard some of his orchestral music 
before and it was pretty good.
best,
dave v.

In a message dated 00-03-27 22:03:20 EST, you write:

<< Anyone want to list their "top ten" historical or influential 
 electronic/experimental recordings? >>



john,
kontakte / hymnen / gesang der jungeling  -  k. stockhausen
poeme electronique  - varese
sidewinder / touch  - subotnick
megaton for william burroughs  - mumma
I of IV  - oliveros
the wolfman  - ashley
sonic contours  - ussachevsky
switched on bach  - carlos
i can recall that these all made a profound impact on me. lord knows, there`s 
probably twice as many that i`ve forgotten about.........
best,
dave v.

>From: jwbarlow@...
>
>Well, sometime between when Vosh bought his new copy and you bought your used
>copy, I bought a brand new copy of Delusion of the Fury (I'll also recommend
>The Bewitched and Revelation In The Courthouse Park). When I got home and
>opened it up, "Hey! Where's the demo record?" It turns out Columbia did
>release the LP as a double LP too. It's worth it to get the demo record if
>only to hear him say, in that great fluttering craggy voice, "and, the bass
>wang!"

Yeah, hearing Partch describe the instruments and his philosophy is
priceless. I highly recommend his book "Genesis of a Music" as well, a
terrific treatise on tuning and aesthetics.
>
>Recently, I was finally in a good record store and had the presence of mind
>(and cash) to finally pick up the soundtrack CD to Forbidden Planet. Good to
>hear it apart from the movie -- I wish there were more high end in the
>recording! I'm now somewhat back in tune with getting historical experimental
>music for my collection -- I was also able to get a copy of Penderecki's
>Threnody for the Victims of Hiroshima, which had been on my list for over
>twenty years. Anyone want to list their "top ten" historical or influential
>electronic/experimental recordings?

I doubt I could narrow it to 10!

One that I'd have to mention is Conlon Nancarrow's "Studies for Player
Piano". I find both Partch and Nancarrow very interesting as composers
looking for new resources from the generation before electronics. The Wergo
re-issues of Nancarrow are absolutely essential.
>
>I also wouldn't mind some discussion (offlist if that's better for the other
>MOTM people) about sci-fi soundtracks -- I remember someone (Ken?) was REALLY
>into them and had the Irwin Allen boxed set for example.
>
One of my absolute favorites is Howard Shore's score to Cronenberg's
"Scanners", creepy orchestra meets modular synths! Very effective stuff,
one of the few records that can consistantly scare me. The score is
available on a CD called "Dead Ringers: Music for the Films of David
Cronenberg." Shore is one of my favorite film composers, and "Scanners" is
one of his most overtly electronic scores.

Another favorite that is somewhat on-topic is the score to Dario Argento's
ultra-cheesy 70's horror flick "Suspiria." The score is by Italian
rock/fusion band Goblin, and has a great blend of great musicianship and
true cheese, with some very cool synth sounds, totally great stuff. The
Score CD is available as an import, and there are excerpts on a Goblin
compilation CD that's available domestically.

____________________________________________
Dave Trenkel : improv@...
Minus Web Site: http://listen.to/minusmusic
Minus MP3's: http://www.mp3.com/-minus-
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