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previous artist: johanna beyer		there are 3 titles featuring johanna m. beyer in stock. they are listed below.		next artist: mark beyer

$14.62

back in stock as of
december 22nd, 2010

first in stock on
november 22nd, 2006

threads:
1960s-electronic
1970s-electronic
musique-concrète
electro-acoustic-composition

new world (usa) #nw 80653 cd

“new music for electronic and recorded media: women in electronic music—1977” compact disc

music of the spheres (1938) (johanna m. beyer)
world rhythms (1975) (annea lockwood)
bye bye butterfly (1965) (pauline oliveros)
appalachian grove i (1974) (laurie spiegel)
i could sit here all day (1976) (megan roberts)
points (1973–74) (ruth anderson)
new york social life (1977) (laurie anderson)
time to go (1977) (laurie anderson)

classic compilation (originally released on the 1750 arch label in 1977) containing a thorough selection of pieces by women composers from the 60s & 70s.

new world press release...

new music for electronic and recorded media: women in electronic music—1977

this is a long-awaited reissue of the cri cd of the classic 1750 arch lp.

"the music on this album exhibits an exciting, wide-open, freewheeling approach to the medium of electronic music which has come to be typical of this genre in the late 1970s. no longer are composers obsessively concerned with the agonizing, expressionistic, and purely “electronic” (synthesized) sound formulas which marked much of this music composed between the mid fifties and the late sixties. instead, today we have composers willing to mix media and sonic materials in thoroughly inventive ways to achieve ends which are new-sounding, and often more engaging, than that of the “academic” avant-garde.

this is the outgrowth of a fundamental change in concerns which has been evolving not only among the composers on this album but also in a growing segment of the musical avant-garde, of which these members are some of the most fecund and inspired. these new sources of inspiration certainly were not as widely shared fifteen years ago. several composers represented here are deeply concerned with eastern influences: meditation, healing, trance, states of serenity. others are inspired by traditional (or “ethnic”) musics and their subsequent metamorphoses into such popular forms as rock and roll. still others bring to bear a sense of wit and satire, rarely a prominent feature of avant-garde music in the early 1960s.

this first anthology of women’s electronic music demonstrates great refinement and skill at work in a variety of different styles, several of which are unfamiliar or new even to those who follow contemporary music. the fact that these pieces are more listenable than that of the sixties avant-garde does not point to a musical regression as some critics have overeagerly assumed when discussing modern works using, say, consonant harmonic structures. rather, and i think this is common denominator for these pieces and something which women composers and artists have been instrumental in legitimizing again for this period in time, these works signify a new consciousness of the relationship of art to human life and the important and positive interaction which can be the role of a more personalized art in our day-to-day experience.”

—charles amirkhanian, august 1977

$34.01

back in stock as of
april 11th, 2012

first in stock on
june 13th, 2011

threads:
1950s-electronic
1960s-electronic
1970s-electronic
1980s-electronic
electro-acoustic-composition
musique-concrète
digital-musics

best of 2011 !!!

sub rosa (belgium) #sr 200 lp

“an anthology of noise & electronic music • second a-chronology 1936-2003” triple long playing record set

vladimir ussachevsky + otto luening - incantation for tape (2:39) 1963
luc ferrari - visage v (10:36) 1958-59
tod dockstader - aerial > song (12:56) 2002
johanna m. beyer - music of the spheres (6:01) 1938
morton subotnick - mandolin (7:02) 1962
daphne oram - four aspects (8:10) 1960
alan r. splet - space travel w/changing choral textures (4:02) 1983
robin rimbaud / scanner - emily (4:49) 2003
hugh davies / gentle fire - quintet (12:10) 1967-68
kim cascone - zephirum scan (4:50) 2002
meira asher + guy harries - torture - bodyparts (3:42) 2001
lasse steen / choose - purzuit of noize (5:37) 1994
woody mcbride - pulp (6:07) 1993
spk - slogun (6:15) 1979
yoshihiro hanno / multiphonic ensemble - on/off edit (9:12) 2001
sean booth + rob young / autechre - bronchus one.1 (6:04) 1991
david lee myers / arcane device - lathe (5:54) 1988
sun ra - black myth (8:32) 1970
don van vliet / captain beefheart - she’s too much for my mirror/ my human gets me blues (5:22) 1969
laibach - industrial ambients (9:57) 1980-82
percy grainger - free music #1 (for four theremins) (2:04) 1936

may 2010 release ; vinyl version of the second anthology (only this & the first volume have gotten the treatment thusfar ; the others remain cd-only) ...

it’s becoming apparent that this selection is intended as more of a personality-driven mix-cd (bearing the imprint of its compiler ; sub rosa’s guy-marc hinant) than an authoritative overview of electronic music trends over the last 70 odd years ... so we can relax and just enjoy, stop scratching our heads at the inclusion of otherwise questionable content (captain beefheart???) ... still a heroic act as many of the pieces included herein have yet to be converted to digital for mass-appreciation ...

very nicely done triple-gatefold with all of the credits printed in full on the four internal panels ...

sub rosa press release...

an anthology of noise & electronic music #2
second a-chronology 1936-2003

3xlp triple gatefold
srv200

the second volume of seven published from 2001 to 2011, curated, noted and edited by guy marc hinant.

...

slow explorations of the past and the present ...

given the present system of production there are reasons, some of them identifiable, why only a few names emerge in each period. there may also be a preference for concentrating information rather than letting it pile up in disordered fashion. over the past 40 years the same ten electronic music composers get mentioned again and again (including in music dictionaries and histories). yet behind them are many other names. who are they? second-raters? not necessarily. for we then need to define the concept of top-rate (rated by who, and on what criteria?) and second-rate or minor artist.

great pleasure can be derived from the works of minor artists. the case of tod dockstader is instructive: when "for lack of academic qualifications" he was denied access to the electronic music facilities he needed, was there not great beauty in the pieces he nevertheless created and in his determination to make music without those facilities? his name was never seen on the labels of top record companies. but he influenced quite a few people - richard james quoted him, and others then referred to his work. some of his records were reissued, and what one could call the rehabilitation process continues. the same applies to many other composers. all such stories spell a passion for music, and weave myth.

these historical axes

at the turn of the century there were efforts to find new sources of sound - a number of machines were exhibited, including thaddeus cahiel's telharmonium in 1887 and the dynamophone presented to the new york public in 1906 ; they generally played well-known romantic or post-romantic pieces. after a few flamboyant skirmishes described in the previous volume, the postwar period saw the arrival in 1951, of vladimir ussachevsky and otto luening in new york's columbia-princeton electronic music center. when audiences of the 50's and 60's first heard varèse, pousseur, stockhausen, berio, ussachevsky, yuasa, dockstader and mumma, what did they feel? perhaps a sort of break, an epistemological break, like it must have been for the first audience of monteverdi's orfeo (in mantua, italy on 24 february 1607). they left the auditorium completely stunned, because they had never heard anything like it.

$18.01

back in stock as of
april 11th, 2012

first in stock on
july 14th, 2003

threads:
1950s-electronic
1960s-electronic
1970s-electronic
1980s-electronic
electro-acoustic-composition
musique-concrète
digital-musics

sub rosa (belgium) #sr 200 cd

“an anthology of noise & electronic music • second a-chronology 1936-2003” double compact disc set

vladimir ussachevsky + otto luening - incantation for tape (1963) 2:39
luc ferrari - visage v (1958-59) 10:36
tod dockstader - aerial > song (2002) 12:56
johanna m. beyer - music of the spheres (1938) 6:01
morton subotnick - mandolin (1962) 7:02
daphne oram - four aspects (1960) 8:10
robin rimbaud / scanner - emily (2003) 4:49
hugh davies - quintet (1967-68) 12:10
alan r. splet - space travel w/changing choral textures (1983) 4:02
kim cascone - zephirum scan (2002) 4:50
sean booth + rob young / autechre - bronchus one.1 (1991) 6:04
yoshihiro hanno / multiphonic ensemble - on/off edit (2001) 9:12
meira asher + guy harries - torture - bodyparts (2001) 3:42
lasse steen / choose - purzuit of noize (1994) 5:37
woody mcbride - pulp (1993) 6:07
david lee myers / arcane device - lathe (1988) 5:54
laibach - industrial ambients (1980-82) 9:57
spk - slogun (1979) 6:15
percy grainger - free music #1 (for four theremins) (1936) 2:04
don van vliet / captain beefheart - she’s too much for my mirror/ my human gets me blues (1969) 5:22

second volume of curiously-linked historic and contemporary electronics...

it’s becoming apparent that this selection is intended as more of a personality-driven mix-cd (bearing the imprint of its compiler; sub rosa’s guy-marc hinant) than an authoritative overview of electronic music trends over the last 70 odd years. so we can relax and just enjoy, stop scratching our heads at the inclusion of otherwise questionable content (captain beefheart???) ... still a heroic act as many of the pieces included herein have yet to be converted to digital for mass-appreciation. nice one ...

sub rosa press release...

an anthology of noise & electronic music vol. 2 - second a-chronology 1936-2003
wladimir ussachevsky + otto luening - luc ferrari - tod dockstader - johanna m. beyer - morton subotnick - daphne oram - robin rimbaud - hugh davies - alan r. splet - kim cascone - autechre - yoshihiro hanno - meira asher + guy harries - woody mcbride - lasse steen - arcane devices - laibach - spk - percy grainger - sun ra - captain beefheart
digipack 2 cd + 30 pages booklet / sr200

slow explorations of the past and the present
given the present system of production there are reasons, some of them identifiable, why only a few names emerge in each period. there may also be a preference for concentrating information rather than letting it pile up in disordered fashion. over the past 40 years the same ten electronic music composers get mentioned again and again (including in music dictionaries and histories). yet behind them are many other names. who are they? second-raters? not necessarily. for we then need to define the concept of top-rate (rated by who, and on what criteria?) and second-rate or minor artist. great pleasure can be derived from the works of minor artists. the case of tod dockstader is instructive: when "for lack of academic qualifications" he was denied access to the electronic music facilities he needed, was there not great beauty in the pieces he nevertheless created and in his determination to make music without those facilities? his name was never seen on the labels of top record companies. but he influenced quite a few people - richard james quoted him, and others then referred to his work. some of his records were reissued, and what one could call the rehabilitation process continues. the same applies to many other composers. all such stories spell a passion for music, and weave myth.

historical axes
at the turn of the century there were efforts to find new sources of sound - a number of machines were exhibited, including thaddeus cahiel's telharmonium in 1887 and the dynamophone presented to the new york public in 1906; they generally played well-known romantic or post-romantic pieces. after a few flamboyant skirmishes described in the previous volume, the postwar period saw the arrival in 1951, of wladimir ussachevsky and otto luening in new york's columbia-princeton electronic music center. when audiences of the 50's and 60's first heard varèse, pousseur, stockhausen, berio, ussachevsky, yuasa, dockstader and mumma, what did they feel? perhaps a sort of break, an epistemological break, like it must have been for the first audience of monteverdi's orfeo (in mantua, italy on 24 february 1607). they left the auditorium completely stunned, because they had never heard anything like it.

previous artist:
johanna beyer

...and that's everything in stock featuring johanna m. beyer.
(why not take a look at the previous and next artists?)

next artist:
mark beyer