Ever since pop culture started robbing the ivory tower of academic electronic music in the 60's, there has been somewhat of a border bashing between electronic music genres and the classical concert world. On this episode of Cued Up, we bring you some of New York's most memorable, recent performances of this cross pollination.
Starting with the use of the theremin, the Mellotron, and various Moog synthesizers, rocket science-level innovations of electronic instruments were thrown into every corner of the 60's musical landscape. While Carlos, Stockhausen, Varese, Babbitt, and Oliveros were pioneering electronic technology and its musical context, the Beach Boys were making bank via hits like Good Vibrations and its use of the theremin.
Here is Stockhausen's reaction to the music of Aphex Twin, published in an article by The Wire in 1995:
"I heard the piece Aphex Twin of Richard James carefully: I think it would be very helpful if he listens to my work Song of the Youth, which is electronic music, and a young boy's voice singing with himself. Because he would then immediately stop with all these post-African repetitions, and he would look for changing tempi and changing rhythms, and he would not allow to repeat any rhythm if it varied to some extent and if it did not have a direction in its sequence of variations.'
Oh no, anything but "post-African repetitions!"
This Sunday at 2 p.m., Cued Up brings you some recent live performances of music by composers Karen Tanaka, Tristan Perich, Angélica Negrón, Alexis Bacon, Ricardo Romaneiro, György Ligeti, and other works that feature acoustic instruments sounding electronic, vice versa, and in between.