Early Music, Electronic Music, Wellness Music, World Music
Home » Catalogue » All Products » MUSIC FROM UTOPIA - RELOADED
INFORMATIONEN
MEDIENSERVICE
MUSIC FROM UTOPIA - RELOADED
|
Artist: VARIOUS Title: MUSIC FROM UTOPIA - RELOADED Article No.: 971485 Media type: CD Genre: Electronic Music Label: Erdenklang Price: EUR 9,- incl. VAT plus carriage costs For all foreign orders: Declared value is net! |
TRACKLIST
| 1) |
|
|
| 2) |
|
|
| 3) |
|
|
| 4) |
|
|
| 5) |
|
|
| 6) |
|
|
| 7) |
|
|
| 8) |
|
|
| 9) |
|
|
| 10) |
|
|
| 11) |
|
|
| 12) |
|
|
| 13) |
|
|
| 14) |
|
|
| 15) |
|
|
| 16) |
|
|
| 17) |
|
|
| 18) |
|
|
| 19) |
|
|
| 20) |
|
|
| 21) |
|
|
| 22) |
|
|
| Total time 76:42 | ||
Music From Utopia
In general the history of music has always been a search for new sound images and forms of expressions. This applies even more so to the history of electronic music. The more popular segment of this genre has been fundamentally influenced since 1954 by Robert Moog's "Moog Synthesizer". While for example Karlheinz Stockhausen in his "Studio for Electronic Music" (WDR, Cologne) used the "additive synthesis", Moog at the same time focussed on the "subtractive synthesis". In additive synthesis basic tones and overtones are brought together into colorful sounds with the help of dozens of sinusoid generators, envelope generators and oscillators. Subtractive synthesis uses the reverse process. It takes wave forms which consist of many overtones and through filter modules "subtracts" those overtones which are not needed for the specifically desired sound.
Virtuosos on Machines
Since then the approach of many musicians has been to use saw tooth, triangle and square waves, voltage regulation and White Noise instead of focussing on the technical skills of playing an instrument. This tendency has been further supported by "sequencers" which feed the synthesizers with programmed linear tone sequences, making artistic playing on the stage superfluous. This technology has led to a very successful development within the electronic music scene - the so called "Synthesizer Music" that started with Wendy Carlos' "Switched On Bach" and continued further with great names such as Kraftwerk, Tangerine Dream, Klaus Schulze and many others until the 90's.
Computer-Acoustic Music
The big technological and therefore also tonal, structural and compositional turning point came with the ARS ELECTRONICA event initiated and organized by Hubert Bognermayr, the ORF (Austrian Radio Association) and myself in Linz, Austria in 1979. It was the biggest festival for electronic music worldwide. Within this festival the Fairlight CMI (Computer Music Instrument) invented by Australian Peter Vogel was first presented, followed by the similar "Synclavier" one year later. These computers can store ("sample") acoustic sounds from the environment such as those produced by glass, wood or metal as well as from acoustic musical instruments. It is then possible to play them on keyboard in any desired pitch. Furthermore, one doesn't even have to play. A special program reads the notes and plays them with precision. One just needs to press a button.
Brainmusic
This technology - being described here in a simplified way - has changed the history of music in a revolutionary way. 1979 was the beginning of "Music From Utopia". The next step I think will be that our brainwaves will provide the computer with data in such a way that any musical composition we create in our mind, including all the instrumentation, sounds, harmonies and rhythms will be made audible. Several experiments at the Eberhard-Karls-University of Tübingen seem to be heading in this direction. Dr. Thilo Hinterberger has developed the Brain-Computer Interface "Thought Translation Device", which is the technical basis for "Braindance": The brainwaves of a dancer are registered, collected and conducted through an EEG-amplifier and sent via radio to a computer. There "sonification" happens, that means, certain brainwaves are assigned certain tones. The music generated in this way then is played through loudspeakers, which then reach the brain of the dancer who in turn responds.
Nevertheless: "A computer is just a useful idiot" (Heinz J. Herbort). Most important will always be, what kind of emotions and how much soul the artist can convey through the medium "computer". Good music comes from the guts, not from the head or a machine.
__________________________________________________________________________
Music From Utopia - Reloaded
Following the very successful double album MUSIC FROM UTOPIA, released by Erdenklang in 1985, the Erdenklang label is now releasing a "reloaded" version including some of the most outstanding titles of electronic music from the Erdenklang label.
The Electronic Foresters Home
Although the style has changed since 1979, sound-sample-techniques and the language of notation-programming still dominate electronic music (and more so Pop Music). DJs who play Techno, House, d b, Electronica and Lounge music handle their machines differently from Erdenklang's artists in the 80's and 90's. Yet the source of all these techniques existed already in 1979 after the first ARS ELECTRONICA . It was the "Fairlight Music-Computer" of HUBERT BOGNERMAYR in his "Electronic Foresters Home" in Linz. When he released "Computer Acoustical Sound Symphony ERDENKLANG" in 1982 on the label with the same name - it was the first LP worldwide featuring this technology - WENDY CARLOS (USA) wrote enthusiastically: "And so the medium of electronic music and computer music synthesis even added to the natural sounds of the concrete world and is now come of age. We might say that the symphony itself has come of age.”
ART OF NOISE, MATTHEW HERBERT and many others have contributed since then to this maturity.
Electronic Past Times
But Erdenklang can go back further in time. The catalogue offers the three important CDs by and with OSKAR SALA, who with his Trautonium influenced the history of music already in 1930. If you want to learn more about this extraordinary musical instrument or the virtuoso and inventor himself, please read the informative text booklet included in the CD "Subharmonische Mixturen".
(Ulli Rützel, 2005/translated by Christian Salvesen)
Sources
Dr. Thilo Hinterberger/ www.hoerkunst.de/hkf2005_hkf3-04.html
Archiv Ars Electronica
Jan Reetze, "Musik Computer-Computer Musik" - Gegenwart und Zukunft eines neuen Mediums; J.B. Metzlersche Verlagsbuchandlung Stuttgart
In general the history of music has always been a search for new sound images and forms of expressions. This applies even more so to the history of electronic music. The more popular segment of this genre has been fundamentally influenced since 1954 by Robert Moog's "Moog Synthesizer". While for example Karlheinz Stockhausen in his "Studio for Electronic Music" (WDR, Cologne) used the "additive synthesis", Moog at the same time focussed on the "subtractive synthesis". In additive synthesis basic tones and overtones are brought together into colorful sounds with the help of dozens of sinusoid generators, envelope generators and oscillators. Subtractive synthesis uses the reverse process. It takes wave forms which consist of many overtones and through filter modules "subtracts" those overtones which are not needed for the specifically desired sound.
Virtuosos on Machines
Since then the approach of many musicians has been to use saw tooth, triangle and square waves, voltage regulation and White Noise instead of focussing on the technical skills of playing an instrument. This tendency has been further supported by "sequencers" which feed the synthesizers with programmed linear tone sequences, making artistic playing on the stage superfluous. This technology has led to a very successful development within the electronic music scene - the so called "Synthesizer Music" that started with Wendy Carlos' "Switched On Bach" and continued further with great names such as Kraftwerk, Tangerine Dream, Klaus Schulze and many others until the 90's.
Computer-Acoustic Music
The big technological and therefore also tonal, structural and compositional turning point came with the ARS ELECTRONICA event initiated and organized by Hubert Bognermayr, the ORF (Austrian Radio Association) and myself in Linz, Austria in 1979. It was the biggest festival for electronic music worldwide. Within this festival the Fairlight CMI (Computer Music Instrument) invented by Australian Peter Vogel was first presented, followed by the similar "Synclavier" one year later. These computers can store ("sample") acoustic sounds from the environment such as those produced by glass, wood or metal as well as from acoustic musical instruments. It is then possible to play them on keyboard in any desired pitch. Furthermore, one doesn't even have to play. A special program reads the notes and plays them with precision. One just needs to press a button.
Brainmusic
This technology - being described here in a simplified way - has changed the history of music in a revolutionary way. 1979 was the beginning of "Music From Utopia". The next step I think will be that our brainwaves will provide the computer with data in such a way that any musical composition we create in our mind, including all the instrumentation, sounds, harmonies and rhythms will be made audible. Several experiments at the Eberhard-Karls-University of Tübingen seem to be heading in this direction. Dr. Thilo Hinterberger has developed the Brain-Computer Interface "Thought Translation Device", which is the technical basis for "Braindance": The brainwaves of a dancer are registered, collected and conducted through an EEG-amplifier and sent via radio to a computer. There "sonification" happens, that means, certain brainwaves are assigned certain tones. The music generated in this way then is played through loudspeakers, which then reach the brain of the dancer who in turn responds.
Nevertheless: "A computer is just a useful idiot" (Heinz J. Herbort). Most important will always be, what kind of emotions and how much soul the artist can convey through the medium "computer". Good music comes from the guts, not from the head or a machine.
__________________________________________________________________________
Music From Utopia - Reloaded
Following the very successful double album MUSIC FROM UTOPIA, released by Erdenklang in 1985, the Erdenklang label is now releasing a "reloaded" version including some of the most outstanding titles of electronic music from the Erdenklang label.
The Electronic Foresters Home
Although the style has changed since 1979, sound-sample-techniques and the language of notation-programming still dominate electronic music (and more so Pop Music). DJs who play Techno, House, d b, Electronica and Lounge music handle their machines differently from Erdenklang's artists in the 80's and 90's. Yet the source of all these techniques existed already in 1979 after the first ARS ELECTRONICA . It was the "Fairlight Music-Computer" of HUBERT BOGNERMAYR in his "Electronic Foresters Home" in Linz. When he released "Computer Acoustical Sound Symphony ERDENKLANG" in 1982 on the label with the same name - it was the first LP worldwide featuring this technology - WENDY CARLOS (USA) wrote enthusiastically: "And so the medium of electronic music and computer music synthesis even added to the natural sounds of the concrete world and is now come of age. We might say that the symphony itself has come of age.”
ART OF NOISE, MATTHEW HERBERT and many others have contributed since then to this maturity.
Electronic Past Times
But Erdenklang can go back further in time. The catalogue offers the three important CDs by and with OSKAR SALA, who with his Trautonium influenced the history of music already in 1930. If you want to learn more about this extraordinary musical instrument or the virtuoso and inventor himself, please read the informative text booklet included in the CD "Subharmonische Mixturen".
(Ulli Rützel, 2005/translated by Christian Salvesen)
Sources
Dr. Thilo Hinterberger/ www.hoerkunst.de/hkf2005_hkf3-04.html
Archiv Ars Electronica
Jan Reetze, "Musik Computer-Computer Musik" - Gegenwart und Zukunft eines neuen Mediums; J.B. Metzlersche Verlagsbuchandlung Stuttgart
DISCOGRAPHY
Publications