# favorite electronic compositions?



## norman bates (Aug 18, 2010)

Every suggestion is welcome, but i'm particularly interested by those piece that are not concentrated only on sound. Practically i'd like to hear electronic music used in a orchestral way, and if i don't consider the inteprations of Isamu Tomita (cosidered tawdry by many) of Holst and Debussy i don't really know where to look.


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## Ukko (Jun 4, 2010)

norman bates said:


> Every suggestion is welcome, but i'm particularly interested by those piece that are not concentrated only on sound. Practically i'd like to hear electronic music used in a orchestral way, and if i don't consider the inteprations of Isamu Tomita (cosidered tawdry by many) of Holst and Debussy i don't really know where to look.


OK, who is the guy who did the whale song?

(I really can't pull his name out of the murk.)


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## norman bates (Aug 18, 2010)

Hilltroll72 said:


> OK, who is the guy who did the whale song?
> 
> (I really can't pull his name out of the murk.)


i don't know, i'm thinking of Vox balenae of George Crumb but clearly is not what you have in mind (also because is not an electronic piece at all)


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## violadude (May 2, 2011)

Hilltroll72 said:


> OK, who is the guy who did the whale song?
> 
> (I really can't pull his name out of the murk.)


Are you thinking of "And God Created Whales" by Alan Hovhannes?


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## Ukko (Jun 4, 2010)

Probably the Crumb - which I thought had electronic elements. But, Wourinen, maybe?


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## Vazgen (May 24, 2011)

I have a lot of electronic favorites. These ones are not avant-garde experiments, but incorporate electronics into traditional forms.

_Philomel _by Milton Babbitt is a soprano/synthesizer composition that has a dreamy, poetic, digital-Chagall atmosphere. _La legende d'Eer_ by Xenakis is an electronic tone-poem, by turns beautiful and harrowing. Leon Kirchner's moody _String Quartet #3_ is scored for string quartet and electronic tape. Boulez uses electronics in his chamber work _Repóns_. Stockhausen's _Mantra _is a composition for two pianos and electronics.

-Vaz


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## norman bates (Aug 18, 2010)

Vazgen said:


> I have a lot of electronic favorites. These ones are not avant-garde experiments, but incorporate electronics into traditional forms.
> 
> _Philomel _by Milton Babbitt is a soprano/synthesizer composition that has a dreamy, poetic, digital-Chagall atmosphere. _La legende d'Eer_ by Xenakis is an electronic tone-poem, by turns beautiful and harrowing. Leon Kirchner's moody _String Quartet #3_ is scored for string quartet and electronic tape. Boulez uses electronics in his chamber work _Repóns_. Stockhausen's _Mantra _is a composition for two pianos and electronics.
> 
> -Vaz


do you really consider those pieces as "traditional" music?


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## norman bates (Aug 18, 2010)

i don't think it's clear what i have in mind, if you consider Wuorinen, Crumb, Xenakis, Stockhausen, Babbitt as traditional composers (to me they are some of the most extreme avantgarde composers ever lived, i feel myself as a martian)


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## Argus (Oct 16, 2009)

norman bates said:


> Every suggestion is welcome, but i'm particularly interested by those piece that are not concentrated only on sound.


I don't understand what else they can be concentrated on, unless you mean music where the compositional process is more important to the composer than the resulting sound. I'm sure those Darmstadt geeks probably thought like this at times.

Anyway, I have a lot of favourite electronic pieces, because I ******* love synths (specifically analogue synths that don't try to emulate acoustic instruments). I'll limit myself to classical/quasi-classical stuff or I'd go on and on:

Ingram Marshall - Gradual Reuiem - a mix of acoustic and electronic

Terry Riley - A Rainbow in Curved Air and Poppy Nogood - one is wholly electronic and kinda raga-esque, the other is more involved with tape loops.

David Behrman - On the Other Ocean

Alvin Curran - Canti Illuminati

Joji Yuasa - Projection Esemplastic for White Noise

Morton Subotnick - Silver Apples on the Moon

Generally speaking I prefer when electronics got out of the laboratory and into the hands of people who weren't just interested in making experimental music. I'll take the Berlin School over the Darmstadt School any day of the week.


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## norman bates (Aug 18, 2010)

Argus said:


> I don't understand what else they can be concentrated on, unless you mean music where the compositional process is more important to the composer than the resulting sound.


i'd like to hear something like an electronic symphony. Something like Wellesz, Stravinsky, Prokofiev, Ives, Bartok, Mahler, Vaughan Williams, Hartmann, Berg or whoever you want using electronic sounds. To me some of the pieces listed above are avantgarde pioneristic music that concentrate on sounds (that today often is a bit dated, after all the sixties were almost the stone age of the electronic music) more than structure, harmony etc. And if it's a tonal work there's absolutely no problem. I know that there are pieces of Hindemith and Messiaen in the thirties and forties using electronic devices, but clearly a trautonium is even more dated.



Argus said:


> Terry Riley - A Rainbow in Curved Air and Poppy Nogood - one is wholly electronic and kinda raga-esque, the other is more involved with tape loops.
> 
> David Behrman - On the Other Ocean
> 
> Morton Subotnick - Silver Apples on the Moon


i know those works, i like all three, especially poppy nogood but again is not what i was thinking about (but it's not a problem, i will listen all pieces). Subotnik is the opposite of what i'm looking for now. I hope it's a bit more clear


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## Argus (Oct 16, 2009)

norman bates said:


> To me some of the pieces listed above are avantgarde pioneristic music that concentrate on sounds (that today often is a bit dated, after all the sixties were almost the stone age of the electronic music) more than structure, harmony etc.


Gotcha. You mean those avant garde composers focussed on the timbre of the electronic sounds because they were novel and exciting a the expense of structure, clear melody etc. That's difficult.

Not exactly what you mean but maybe Klaus Schulze's more symphonic allusions might be along those lines:






Although I prefer his more raw stuff.

Then if you like a bit of cheddar there's Wendy Carlos (maybe too close to Tomita):






To be honest, an orchestral style electronic piece doesn't sound like it'd work. Trying to find enough usable synth timbres to cover the palette of the orchestra would be hard enough but managing to stay away from corniness would be even more difficult. Unless, you use higly realistic electronic sounds that resemble acoustic instruments, but that'd negate the purpose of using electronics in the first place.


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## norman bates (Aug 18, 2010)

Argus said:


> Gotcha. You mean those avant garde composers focussed on the timbre of the electronic sounds because they were novel and exciting a the expense of structure, clear melody etc. That's difficult.


exactly 



Argus said:


> To be honest, an orchestral style electronic piece doesn't sound like it'd work. Trying to find enough usable synth timbres to cover the palette of the orchestra would be hard enough but managing to stay away from corniness would be even more difficult. Unless, you use higly realistic electronic sounds that resemble acoustic instruments, but that'd negate the purpose of using electronics in the first place.


I confess that i find some of Tomita pieces well done. Some sounds dated, but there are very interesting episodes like Neptune, at least for me (i do know that Holst's relatives totally hated the result). I think also that now that the technology is much more developed than in the sixties/seventies it would be possible to achieve great results (orchestral does not mean to imitate perfectly the sound of a violin or of a cello). Do you know musicians like Fennesz or Vladislav Delay? I'd like to hear those kind of sounds in a classical context for example. 
Oh, i know Schulze and i agree with you (my favorite of him is probably Cyborg, but after all he's not a classical composer), but you are in the right direction


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## Argus (Oct 16, 2009)

norman bates said:


> Do you know musicians like Fennesz or Vladislav Delay? I'd like to hear those kind of sounds in a classical context for example.


Yeah, I like Fennesz and have listened to most of his albums, and what little of Vladislav Delay I've heard, I have liked. Maybe film scores might contain some of the stuff you mean. They seem to contain a good mix of various styles, although it's also more a mix of acoustic and electric not solely focussed on one. Either that or some New Age style music.













> Oh, i know Schulze and i agree with you (my favorite of him is probably Cyborg, but after all he's not a classical composer), but you are in the right direction


Mine's probably Timewind but In Blue is good too.


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## Vazgen (May 24, 2011)

I've always liked the symphonic expansiveness of _Zeit_-era Tangerine Dream:






I agree with Argus' recommendation of Ingram Marshall:






-Vaz


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## norman bates (Aug 18, 2010)

i've never heard before of marshall, thank you. I don't know if it's what i'm looking for but i will listen something of him. 
Though is not what Sorabji intended and the sounds are not the best, i find this provisory execution with Finale of his Jami fascinating.





Just an assay because it's near to my idea, the piece lasts 4 hours


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## HarpsichordConcerto (Jan 1, 2010)

Honestly, I enjoy (in a different sense) to _some_ types of the avant-garde electronic music. By that I mean enjoyment in the sense that the sounds make me laugh with amusement because it sounded funny!

Ligeti, _Artikulation_ (1958) makes me laugh because it sounds very farty at times and reminds me of the Star Wars robot R2-D2. Don't take this as me rubbishing the music - I'm not.






_Glissandi_ (1957) is less funny but still reminds me of spaceships taking off for flight. I think these types of sounds must have been used before in old science-fiction shows/movies.






I prefer the ones that remind me of bowel movements because at the very least, I get a giggle or laugh out of it.


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## itywltmt (May 29, 2011)

Jean-Michel Jarre's _Oxygène_
http://en.wikipedia.org/wiki/Oxygene_(album)
(Many YouTube excerpts available)

Back to Wendy Carlos: How about her (I corrected myself, as I wrote "his") music from *A Clockwork Orange*, which included a few compositions of hers (Timesteps, Country Lane...) That stuff doesn't sound dated, like much of the 1970-s analogue MOOG synthesizer stuff does.


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## Vazgen (May 24, 2011)

> _Artikulation_ (1958) makes me laugh because it sounds very farty ... I prefer the ones that remind me of bowel movements because at the very least, I get a giggle or laugh out of it.


The mockery of the ignorant is the highest form of flattery.

Don't take this as me rubbishing your opinion- I'm not.

-Vaz


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## Weston (Jul 11, 2008)

I've been enjoying some microtonal music by Prent Rodgers for the past several years. The electronic production is not very flashy, but that's all the better to explore the possibilities of a 24 tone and other microtonal scales. His web site is worth exploring.

I'll second Argus' recommendation of Subotnik's Silver Apples of the Moon. It has long been one of my favorites, though only one "side" of the album is rhythmic enough to keep my interest. Of course, I'm dating myself talking about sides, but I can't remember if it's the first half or the second half that is very rhythmic.

For something closer to electronica (which I don't really think was requested) I enjoy Autechre and other "glitch" producers.


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## Sid James (Feb 7, 2009)

Would things by *Vangelis* be relevant? Is he too "lowbrow?" I have a colleague who likes his stuff, she says that his _Chariots of Fire_ score is not his best work, even though it is his best known piece to date. Funnily enough, there was a memorable electronic bit in a film that came out the same year (1984), the Australian film _Gallipoli._ It was the scene where the two guys who later go off to fight in WW1 (one of them played by Mel Gibson way before his current personal woes) almost became lost in the West Australian desert. I remember this as being kind of minimalistic, hypnotic & melodic, the repetitive spiralling quality imaging how the two guys are just going around & round in circles, getting absolutely nowhere in the process. Eventually they are "saved" & led to safety by a wiry old camel driver...


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## HarpsichordConcerto (Jan 1, 2010)

Mario Davidovksy (born 1934) wrote much R2-D2 type sounds. Here is _Synchronisms No. 1_ (1962). R2-D2 with a flute.


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## Sid James (Feb 7, 2009)

HarpsichordConcerto said:


> Mario Davidovksy (born 1934) wrote much R2-D2 type sounds. Here is _Synchronisms No. 1_ (1962). R2-D2 with a flute...


Well, in a way, you're right - many of these types of things do have a strong element of playfulness & "whimsy." But you've got to give credit to Mr Davidovsky in that he composed these works about 15 years before the first _Star Wars _film came out!!!...


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## Ravellian (Aug 17, 2009)

Personally I don't see why composers can't create "symphonies" (or comparable large-scale works) for modern instruments like the electric guitar, electric bass, synthesizer, etc. In fact, if no one else will, I intend to do it first.


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## Sid James (Feb 7, 2009)

Ravellian said:


> Personally I don't see why composers can't create "symphonies" (or comparable large-scale works) for modern instruments like the electric guitar, electric bass, synthesizer, etc. In fact, if no one else will, I intend to do it first.


Emerson, Palmer & Lake kind of did this decades ago, but with other classical composer's music. A side issue here is that, in a way, this is happening to a degree - composers using digital software to compose & play back their works in progress. The software uses digitised recordings of acoustic instrument's sounds to convey the "real" acoustic sound. If this kind of thing can be expanded it would kind of lead to a different way of looking at this digital technology, not just a "tool" for composition, but as integral to it in actual performance just as acoustic instruments have been throughout the ages...


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## Tomposer (Jul 9, 2011)

You could try looking at what "dubstep" (very loosely used term) producers are doing these days... some of it is at least as inventive as anything else around (moreso in my opinion).

Look at Amon Tobin (just one example of many) - the whole of his Isam is pretty incredible.


__
https://soundcloud.com/amon-tobin%2Fsets

The other very interesting thing about this is it is really quite popular (esp compared to a lot of "modern contemporary art music" or whatever you choose to call it), yet it has hard edged sounds, not always tonal (or even pitch related), and is by no means "easy listening."


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## Tomposer (Jul 9, 2011)

> Personally I don't see why composers can't create "symphonies" (or comparable large-scale works) for modern instruments like the electric guitar, electric bass, synthesizer, etc. In fact, if no one else will, I intend to do it first.


I can have a stab at this... the typical rock format and a symphony orchestra have very, very different design characteristics because they were developed in greatly different ways. Typically, duplicating instruments in a rock band doesn't ensure a more powerful sound; being electronically amplified means that the smallest format is capable of delivering as much power as a rock band with additional instruments. There's plenty of examples of that. And, this is true in audio and live performance. Indeed there are various problems associated with having too many players in a rock band (even a big rock band is a number much fewer than of a typical orchestra).

Classical ensembles, on the other hand, though they work very nicely when small, build in power significantly as their size increases (probably to a certain practical threshold experimented with by the late romantic composers). This means that a composer's symphonic technique is partly about learning to utilise those forces. You don't need a _symphonic _technique, at least not in that particular sense, to make powerful effective music for a rock band, as indeed many people have been doing for decades.


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## Sid James (Feb 7, 2009)

*@ Tomposer* - I love dubstep, never thought of it in terms of replying to this topic. Skrillex is one of my favourite contemporary musicians & you're right in many ways, it's difficult to distinguish between what he does & the work of "classical" electronic composers. The only big difference is perhaps a stronger sense of repetitive rhythm/beat in Skrillex's music...


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## norman bates (Aug 18, 2010)

HarpsichordConcerto said:


> Honestly, I enjoy (in a different sense) to _some_ types of the avant-garde electronic music. By that I mean enjoyment in the sense that the sounds make me laugh with amusement because it sounded funny!
> 
> Ligeti, _Artikulation_ (1958) makes me laugh because it sounds very farty at times and reminds me of the Star Wars robot R2-D2. Don't take this as me rubbishing the music - I'm not.
> 
> ...


though ligeti is one of my very favorite composers, i think that those are pioneriing experiments that now sound not only dated but also a bit childish, even compared to a lot of popular electronic music. I ear a musician playing with his new toy, more than mature compositions (anyway glissandi is the more interesting of the two).


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## norman bates (Aug 18, 2010)

Weston said:


> For something closer to electronica (which I don't really think was requested) I enjoy Autechre and other "glitch" producers.


i like them too, as i like amon tobin (bricolage is one of my favorite albums in the genre), but i feel that there's always a limit, in the sense that sound is a lot more central than the other aspects. And i don't understand why, i'd like to hear a great electronic sound with elaborate harmonies, melodies, rhythm and structures, not just great sound. Instead i don't know why, but is like that all electronic musicians think that electronic music need a new approach and this approach makes structure, harmony, and melody useless ornaments.


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## norman bates (Aug 18, 2010)

Sid James said:


> Would things by *Vangelis* be relevant? *Is he too "lowbrow?*"


a little bit (though i have to listened yet to his stuff as Aphrodite's child)


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## norman bates (Aug 18, 2010)

Sid James said:


> Emerson, Palmer & Lake kind of did this decades ago, but with other classical composer's music. A side issue here is that, in a way, this is happening to a degree - composers using digital software to compose & play back their works in progress. The software uses digitised recordings of acoustic instrument's sounds to convey the "real" acoustic sound. If this kind of thing can be expanded it would kind of lead to a different way of looking at this digital technology, not just a "tool" for composition, but as integral to it in actual performance just as acoustic instruments have been throughout the ages...


to me the strenght of electronic music is that you can have infinities of new sounds. And to those new sounds you can add delays, reverberation, compression, distortion, strange dynamics, things that are rhythmically impossible to play for a human. It's clear that if electronic have only to copy a violin, well, a real violinist is better.


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## Argus (Oct 16, 2009)

Ravellian said:


> Personally I don't see why composers can't create "symphonies" (or comparable large-scale works) for modern instruments like the electric guitar, electric bass, synthesizer, etc. In fact, if no one else will, I intend to do it first.


That'd be Glenna Branca and Rhys Chatham's forte. But electic guitar and bass aren't really electronic, in that the sound is acoustically generated.


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## Argus (Oct 16, 2009)

Weston said:


> I've been enjoying some microtonal music by Prent Rodgers for the past several years. The electronic production is not very flashy, but that's all the better to explore the possibilities of a 24 tone and other microtonal scales. His web site is worth exploring.


I think you might have mentioned him before (otherwise I stumbled on him on my own) because I remember listening to music like that when I was looking more into Harry Partch's musical system. It's pretty interesting stuff and I think Rodgers does really well in making some of those unfamiliar intervals blend into the melodic line. Some pieces suffer from slightly tacky synth patches but overall I like it.



norman bates said:


> And i don't understand why, i'd like to hear a great electronic sound with elaborate harmonies, melodies, rhythm and structures, not just great sound. Instead i don't know why, but is like that all electronic musicians think that electronic music need a new approach and this approach makes structure, harmony, and melody useless ornaments.


Well, if Wendy Carlos is cheddar, how would you like some parmesan:






What about something like this Philip Jeck piece:






Closer to Fennesz in many ways.


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## itywltmt (May 29, 2011)

Ravellian said:


> Personally I don't see why composers can't create "symphonies" (or comparable large-scale works) for modern instruments like the electric guitar, electric bass, synthesizer, etc. In fact, if no one else will, I intend to do it first.


Steven Gellman's 1986 "Universe Symphony", commission by the Toronto Symphony
http://www.musiccentre.ca/apps/inde...yByItemId&bibliographyId=23873&recordTypeId=8

(Premiere performance captured by CBC FM. First 13 minutes include an interview with the composer. Supplied by the Canadian Music Centre's CentreStreams project. Should work without a login, but it's a 30 second and FREE process to get an account...)


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## DeepR (Apr 13, 2012)

Steve Roach - The Magnificent Void - Altus

(Not on youtube but someone put it on soundcloud:

__
https://soundcloud.com/trixter88%2F8-altus
)

The grand finale to an already great album. It's a "sui generis" among ambient and space music. I've probably listened to it over a hundred times, but having just listened to this fantastic piece again, I came to realize that in a way it's a very "symphonic" piece of electronic music. Thick washes and broad sweeps of pure electronic sound. Multiple layers and modulations that together form a complex whole. Although it may take a while before you notice it...
To me, it captures the vastness of space and a sense of infinity and oneness, unlike any other piece of music. Eternal past and infinite future, galaxies, stars, planets, our bodies, cells - all part of one big interconnected universe. 
Altus is a masterpiece of electronic music that will stand the test of time, even if only for a tiny amount of listeners.  I get goosebumps just thinking about it.


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## Jobis (Jun 13, 2013)

I used to be a big fan of electronic music, the stuff of artists like Flying Lotus, Burial and Aphex Twin. However the problem with many of these artists is that they prioritise interesting textures and timbres over form, structure and harmonic content. I wish they could do both, but I think such people don't have enough knowledge of music theory to know where to take a piece.

What drove me away is that I hate the hypnotic side to most modern electronic music, far too much of it is repetitious and tonally quite conservative or basic.


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## aleazk (Sep 30, 2011)

Tristan Murail- Les Sept Paroles (for Orchestra, Choir and Electronics):


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## brianvds (May 1, 2013)

Sid James said:


> Would things by *Vangelis* be relevant? Is he too "lowbrow?" I have a colleague who likes his stuff, she says that his _Chariots of Fire_ score is not his best work, even though it is his best known piece to date.


_Chariots of Fire_ is Vangelis' equivalent of the 1812 Overture. 

Vastly better are some of his lesser known albums, my personal favourite being _Soil Festivities_. Last time I checked the whole thing was on YouTube. It may well be lowbrow, but so be it then - I am quite a Vangelis fan. 

I also enjoyed some of his other film music, such as the scores for _Antarctica_, _Blade Runner_, _1492_ and _El Greco_.


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## Ukko (Jun 4, 2010)

Shadows of American Dreams by F. Gerard Errante is electronic/clarinet music (Errante is a clarinetist). This is not a favorite, but it is the most recent work to make me jump when it starts. You will need a subwoofer.

May be heard on Capstone CPS-8635.


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## ptr (Jan 22, 2013)

I still have a soft spot for Luciano Berio's Visage and Åke Hodell's Lågsniff! Many of the works from the 60's seem so very imaginative because the technology was in such a flux during the period..

/ptr


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## Giuseppem (Dec 29, 2013)

hallo to all  my favorite is karn evil 9 by ELP.... Is amazing


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## Blake (Nov 6, 2013)

Solar Fields' albums _Leaving Home_ and _Movements._


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## Guest (Jan 3, 2014)

ptr said:


> I still have a soft spot for Luciano Berio's Visage and Åke Hodell's Lågsniff! Many of the works from the 60's seem so very imaginative because the technology was in such a flux during the period.


Very imaginative time, generally. Nice to see some of what used to be called "electronic" before that word was co-opted by the world of trance and house and dubstep and the like.

I just said "electronic" to a person in the waiting room of the Rome airport, and she immediately said she liked Moby.

I was thinking more along the lines of Dhomont or Ferrari or Karkowski.

We had a nice conversation about terminology, anyway.

I first heard Hodell's _Mr. Smith in Rhodesia_ at the Cabrillo Festival in the seventies, sitting next to Mr. John Cage, who was composer in residence that year. Good times.


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## DeepR (Apr 13, 2012)

brianvds said:


> _Chariots of Fire_ is Vangelis' equivalent of the 1812 Overture.
> 
> Vastly better are some of his lesser known albums, my personal favourite being _Soil Festivities_. Last time I checked the whole thing was on YouTube. It may well be lowbrow, but so be it then - I am quite a Vangelis fan.


His composing may be limited from a classical music perspective, but it does have something "fresh" and "spontanious" that I really like... and it shows in the first track of Soil Festivities, which seems to be composed/performed more or less on the fly.


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## brianvds (May 1, 2013)

DeepR said:


> His composing may be limited from a classical music perspective, but it does have something "fresh" and "spontanious" that I really like... and it shows in the first track of Soil Festivities, which seems to be composed/performed more or less on the fly.


As far as I could work out, that entire album was improvised on the spot, as is a lot of his other music. Not sure how he does that. Perhaps he does do a few practice runs first.


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## DeepR (Apr 13, 2012)

brianvds said:


> As far as I could work out, that entire album was improvised on the spot, as is a lot of his other music. Not sure how he does that. Perhaps he does do a few practice runs first.


Today he also has custom built gear that allows him to command many different layers of a piece on the spot.




old video:


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## DeepR (Apr 13, 2012)

Jobis said:


> I used to be a big fan of electronic music, the stuff of artists like Flying Lotus, Burial and Aphex Twin. However the problem with many of these artists is that they prioritise interesting textures and timbres over form, structure and harmonic content. I wish they could do both, but I think such people don't have enough knowledge of music theory to know where to take a piece.
> 
> What drove me away is that I hate the hypnotic side to most modern electronic music, far too much of it is repetitious and tonally quite conservative or basic.


I agree, sometimes electronic artists could be more interesting in those areas as well. On the other hand, maybe you're looking for things that aren't there. Sometimes you just have to let go of all notions of what music should be like, of what you expect from music, and simply let it happen. 
Especially in the case of ambient music, I think one has to be adventurous, patient and fascinated by sound to begin with... the kind of person who would even listen to some random "field recording" in bed with headphones and be totally captivated.
Electronic music doesn't have to have the qualities that you would generally look for in classical music, it has other qualities. The good stuff has intricacies and subtlety that make it rewarding to listen to in the long run. Also, great electronic/ambient music enables the imagination unlike any other music.


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## KenOC (Mar 7, 2011)

An oldie, but a truly striking opening...


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