[spectre] Sunday reading: On the history of those classic works of electronic and concrète music which sought to mimic and extend the voices and sounds of our pastoral landscape

[Radio Web MACBA]

*Sunday reading: On the history of those classic works of electronic and
concrète music which sought to mimic and extend the voices and sounds of
our pastoral landscape*

Written by Jon Leidecker

Link: http://rwm.macba.cat/uploads/20100706/01Interruptions_eng.pdf
Music selection:
http://rwm.macba.cat/en/curatorial/interruptions_1_jon_leidecker/capsula

"Pastoral V.2" is a curated overview hoping to underline the history of
those classic works of electronic and concrète music which sought to mimic
and extend the voices and sounds of our pastoral landscape, which can be
closer to the heart of the medium's inherent potential than the more common
identifications with inhuman or alienated expressions of industrial
culture.

The emerging medium of electronic music found its way to a wider public
audience in the 1950's, accompanied by descriptions of the sounds as
inherently unearthly, fantastic, or cold and inhuman. Partially this was in
response to the medium's instant adoption as sound effects for science
fiction films and television shows, as spearheaded by Louis and Bebe Barron
in their score for the film "Forbidden Planet". But electronic musical
instruments also possessed the ability to closely emulate and extend the
voices of the animal world to a greater degree than any musical instrument
in history. A gated tone oscillator or untempered synthesizer gives a
player a better chance at creating melodies that sound like birdsong than
any violin or flute – save perhaps for a recording of a flute that's been
sped up several octaves, using the techniques of musique concrète.
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