Get 20M+ Full-Text Papers For Less Than $1.50/day. Start a 14-Day Trial for You or Your Team.

Learn More →

Composers inside Electronics: Music after David Tudor

Composers inside Electronics: Music after David Tudor LMJ14_001- 11/15/04 9:07 AM Page 1 INTRODUCTION Composers inside Electronics: Music after David Tudor he electronic future, as envisioned for the past 80 years or so, has usually taken one of two forms: the streamlined, antiseptic, utopian vision in which technology allows us ever more control (the iPod future) and the messy, chaotic, dystopian vision in which electronics multiply and decay, leaving us at their mercy (the impenetrable-thicket-of-cables-making-it-impossible-to-vacuum-behind-your-desk future). There is, of course, a third vision: one in which we accept the machine as a collaborator, rejoice in its inexplicable intransigence and, like Michelangelo finding the figure in the marble, pause to listen to the composer inside the electronics. This David Tudor was doing as he sat at a table piled with wire-spewing circuits, tending to them like an old lady with 3 dozen cats while producing some of the most extraordinary music of the 20th century. David Tudor was born in Philadelphia, Pennsylvania, in 1926. He began his musical career as an organist but quickly acquired a reputation as a leading pianist of the avant-garde, championing the music of Pierre Boulez, Sylvano Bussotti, Morton Feldman, Karlheinz Stockhausen and Stefan Wolpe among others (see Austin Clarkson’s article in http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Leonardo Music Journal MIT Press

Composers inside Electronics: Music after David Tudor

Leonardo Music Journal , Volume December 2004 (14) – Dec 1, 2004
Download PDF
3 pages

Loading next page...
 
/lp/mit-press/composers-inside-electronics-music-after-david-tudor-6H31uRpjgq

References

References for this paper are not available at this time. We will be adding them shortly, thank you for your patience.

Publisher
MIT Press
Copyright
© 2004 ISAST
Subject
Introduction; Composers Inside Electronics: Music After David Tudor
ISSN
0961-1215
eISSN
1531-4812
DOI
10.1162/0961121043067352
Publisher site
See Article on Publisher Site

Abstract

LMJ14_001- 11/15/04 9:07 AM Page 1 INTRODUCTION Composers inside Electronics: Music after David Tudor he electronic future, as envisioned for the past 80 years or so, has usually taken one of two forms: the streamlined, antiseptic, utopian vision in which technology allows us ever more control (the iPod future) and the messy, chaotic, dystopian vision in which electronics multiply and decay, leaving us at their mercy (the impenetrable-thicket-of-cables-making-it-impossible-to-vacuum-behind-your-desk future). There is, of course, a third vision: one in which we accept the machine as a collaborator, rejoice in its inexplicable intransigence and, like Michelangelo finding the figure in the marble, pause to listen to the composer inside the electronics. This David Tudor was doing as he sat at a table piled with wire-spewing circuits, tending to them like an old lady with 3 dozen cats while producing some of the most extraordinary music of the 20th century. David Tudor was born in Philadelphia, Pennsylvania, in 1926. He began his musical career as an organist but quickly acquired a reputation as a leading pianist of the avant-garde, championing the music of Pierre Boulez, Sylvano Bussotti, Morton Feldman, Karlheinz Stockhausen and Stefan Wolpe among others (see Austin Clarkson’s article in

Journal

Leonardo Music Journal – MIT Press

Published: Dec 1, 2004

There are no references for this article.