On the threshold of beauty : Philips and the origins of electronic music in the Netherlands, 1925-1965 / Kees Tazelaar.
Språk: Engelska Utgivning: Rotterdam : V2_Publishing, 2013Beskrivning: 314 s. : ill. ; 25 cmISBN:- 9789462080652
- Badings, Henk, 1907-1987
- Boerman, Jan, 1923-
- Bruynèl, Ton, 1934-1998
- Dissevelt, Tom, 1921-1989
- Escher, Rudolf, 1912-1980
- Koenig, Gottfried Michael, 1926-
- Raaijmakers, Dick, 1930-2013
- Varèse, Edgard, 1883-1965
- Xenakis, Iannis, 1922-2001
- Philips
- Elektroakustisk musik
- Elektronisk musik
- Musikhistoria
- Företagshistoria
- Nederländerna
- 786.709492 23/swe
- Iji
- Ijb-ga
Exemplartyp | Aktuellt bibliotek | Hyllsignatur | Ex.nummer | Status | Streckkod | |
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Bok | Musik- och teaterbiblioteket Elektronmusikstudion EMS | EMS : A9 | 1 | Tillgänglig (Längre framtagningstid / Longer processing time) | 26201827715 |
Part I, Electroacoustics and Electronic Music at Philips Research Laboratories. 1, Developments in Electroacoustics at Philips before 1945. Philips Research Laboratories ; Radios and Loudspeaker Development ; Film Sound: The Loetafoon and the Film "Philips Radio" ; The Philips-Miller Recording System ; Stereophonic Sound ; Synthetic Sound ; The Philiolist Loudspeaker Violins ; 2, After World War II: Towards Electronic Music. "Canned Music" and a Music Laboratory ; Collaboration with Leopold Stokowski ; Leopold Stokowski and Roelof Vermeulen at the Concertgebouw Multiplication of Concerts ; Ambiophonics and Reverberation ; The Gravesano Music and Electroacoustics Conference ; Electronic Musical Instruments for the Fair of Science ; 3, The Studio at Philips Research Laboratories. Henk Badings and the Nederlandse Radio Unie ; Henk Badings' "Kaïn en Abel" and the Studio Equipment in Room ; "Variations électroniques" and Philips' Commercial Animation Films ; The Electronic Popular Music of Dick Raaijmakers, aka Kid Baltan ; Tom Dissevelt's "Electronic Movements" ; More Electronic Music by Henk Badings ; Ton de Leeuw's "Antiphonie" for Wind Quintet and Electronic Sounds ; The Composer Dick Raaijmakers ; The End of the Studio in Eindhoven ; Part II, Electronic Music for the Philips Pavilion. 4, Preliminary Technical and Artistic Outline. Initial Concept ; The Electroacoustics Division (ELA) and Its Studio ELA at the 1958 World's Fair ; Sound and Light Spectacles ; 5, Realizing the Music for the Philips Pavilion. Le Corbusier, Edgard Varèse, Iannis Xenakis: Artistic Considerations ; Philips' Doubts about Edgard Varèse ; The Garage at Strijp III and Willem Tak's Test Scenario ; Edgard Varèse in Eindhoven and Preparations for Musical Production ; The Laborious Recording of "Le poème électronique" ; Anton Buczynski's Contribution ; The Integration of Reverberation and Panning ; Iannis Xenakis' "Interlude sonore" ; 6, Le poème électronique in Brussels. The Sound Installation ; Edgard Varèse in Brussels ; Presenting "Le poème électronique" to the Public ; Part III, Electronic Music Pervades Public Culture: Organizations, Studios, Concerts, Education. 7, The First Steps towards a Dutch Electronic Music Studio ; Walter Maas and the Founding of Gaudeamus ; Werner Meyer-Eppler's Lectures ; Electronic Music at the Nederlandse Radio Unie ; 8, An Organization for the Promotion of Electronic Music. The Contactorgaan Elektronische Muziek ; Defining Electronic Music and Staging the First Concerts ; The International Days of Experimental Music at the 1958 World's Fair ; 9, A Temporary Studio for Electronic Music Education and Production. A Studio at Technische Hogeschool Delft ; Electronic Music for Film and Theater ; The Composers Jan Boerman and Rudolf Escher ; 10, Continuing the Work of the Philips and TH Delft Studios in Utrecht and Bilthoven. Plans for New Studios in Utrecht and Amsterdam New Studios in Utrecht and Bilthoven ; Tom Dissevelt's "Intersection," Dick Raaijmakers' "Vijf plastieken," Jan Boerman's "Alchemie 1961" and Rudolf Escher's "Summer Rites at Noon" ; The Battle over Leadership of the Studio in Utrecht ; Gottfried Michael Koenig at Gaudeamus: Critical Remarks on Sound Spatialization ; The Bilthoven Electronic Music Course ; The Utrecht Studio under Henk Badings and Rudolf Escher's Final Attempt ; Tom Dissevelt's "Fantasy in Orbit" ; 11, Private Projects. The Mood Engineering Society ; The First Private Studios and Their Early Productions: Jan Boerman, Ton Bruynèl, Dick Raaijmakers ; 12, Towards Stability in Utrecht and The Hague. Gottfried Michael Koenig's Formative Years ; Koenig at the Cologne Studio ; Koenig at STEM ; Kees van Baaren and the Establishment of a Studio at the Royal Conservatoire
On the Threshold of Beauty' is an exciting and detailed reconstruction of the emergence of electronic music in the Netherlands. Author Kees Tazelaar, composer and head of the Institute of Sonology at the Royal Conservatoire in The Hague, grippingly relates its turbulent history from the earliest beginnings. This history begins around 1930 with the studio of the Philips Physics Laboratory and the plans for the Philips pavilion at Expo 58 in Brussels. The goal was a lightand- sound demonstration for the general public, but the involvement of Le Corbusier, Iannis Xenakis and Edgard Varese gave this project a highly avant-garde turn. The result, Poeme electronique, was considered by many to be much more experimental than the music of the research laboratory. In 1960 Philips divested itself of the studio. It was absorbed into a new studio at Utrecht University, where Gottfried Michael Koenig became artistic director in 1964. Tazelaar also looks in detail at the influence wielded by the Contact Organization for Electronic Music during this period. -- Publisher