In These Hopeful Machines "James Gardner traces a personal path through the evolving world of electronic music – and meets some of the people who made it happen. In six content-rich episodes he looks at over 100 years of recording techniques, electronic instruments and gizmos, and their use in popular music, art music and their position in Western culture." [more inside]
A bit over a year ago, Warp Record's digital music shop, Bleep.com, presented their guide to recorded* electronic music, spanning from 1930 to 2010 (also as a Facebook timeline, which apparently kicked the whole thing off). The overview of recorded electronic music was presented as a selection of 55 tracks, almost five and a half hours in full. Part of this presentation was a (now expired) promotional deal to purchase the collection of songs as a lot, but you can still read about each piece of music on Bleep and hear 49 of the tracks in a playlist on Grooveshark. There's more to hear and read below the fold. [more inside]
Erupting with the blare of The Art of Noises, noise as art first nestled under the wing of futurism. Too bad they were fascists. Since then, it has expanded and spread around the world, a mirror and a mockery of music. Or maybe its future. [more inside]
The Tone Generation is a radio series by Ian Helliwell 'looking at different themes or composers in the era of analogue tape and early synthesizer technology'. The original globe-trotting series: Great Britain, France, Germany, Italy, Holland, Scandinavia, Eastern Europe, USA, Canada, Rest of World. Bonus programmes: Expo 58, The RCA Synthesizer. All links are to MP3 files, except the first one. Alternatively, you can slurp down the lot in one go by subscribing to the podcast feed.
Edgard Varèse : Ionisation. Iannis Xenakis : Rebonds. György Ligeti : Artikulation and Poème Symphonique For 100 Metronomes. [NOTE: see hoverovers for link descriptions] [more inside]
John Mark Harris provides a interactive graphical score synchronized to his realization of the architect-composer Iannis Xenakis's Evryali, a piano piece that is intentionally impossible to play as written. Harris's notes on the piece are behind the non-obvious "on Evryali" button on the score page. Things start getting really interesting around page 22.