An Exhibition of World Graphic Scores, Minami Gallery, Tokyo, 1962
This exhibition included international artists, especially from the U.S. Fluxus branch, as well as graphic scores by members of the Jikken kōbō 実験工房, or Experimental Workshop –see previous post,– like Toshi Ichiyanagi, Yuji Takahashi, Toru Takemitsu, Joji (George) Yuasa, Yasunao Tone, among others.
Source: The Gilbert and Lila Silverman Fluxus Collection Archives, the Museum of Modern Art, New York (link).
On this superb album, electronica musician Raed Yassin, avant guitarist Charbel Haber and percussionist Khaled Yassine blend iconic folk & belly dance music legends from Lebanon with influences from legendary Egyptian guitarist Omar Khorshid. The trio’s music also incorporates infectious Krautrock touches, electronic loops and occasional vinyl+live instrument duets. Most impressive track is the epic 17mn Samia, a sumptuous blend of traditional Lebanese music, turntablism, electric organ and electric guitar solo.
Willy Pferdekamp, Hans Richter, Werner Graeff & Paul Hindemith From Schilder malt – Filmer malt, the catalogue to a Hans Richter exhibition at Stedelijk Museum, Amsterdam, The Netherlands, 1961
Part of the cast of Hans Richter’s surrealist, silent film Vormittagsspuk (Ghosts Before Breakfast), 1927. As the original music composed by Paul Hindemith for the film is lost, the Los Angeles County Museum of Art commissioned an alternative soundtrack to Steve Roden for their Hans Richter: Encounter retrospective exhibition in 2013 – for which Roden actually came up with 4 different tracks, all with their own merits.
Folkmar Hein & Thomas Seelig – Internationale Dokumentation elektroakustischer Musik, published by PFAU-Verlag, Saarbrücken, Germany, 1996. ISBN 3-930735-59-8.
The Bible! Listing all works actually composed in a number of electronic studios around the world. I used it in several of my Wikipedia articles to pick up precious information on little known composers. Unfortunately, it wasn’t updated after 1996.
Ferruccio Busoni (1866-1924) – Entwurf einer neuen Ästhetik der Tonkunst (Sketch of a New Aesthetic of Music), written 1907.
Originally written in German in 1906 when Busoni was living in Berlin, this avantgarde music manifesto has been constantly in print in Germany since 1907, thanks to the Insel Bucherei collection of essays and pamphlets in lovely paperbak editions.
Jack White – Lazaretto (“The Ultra LP”), Third Man Records, June 10, 2014
Third Man Records’s Ben Blackwell (of Dirtbombs) and White (of White Stripes fame) demonstrate the LP’s features with a gear including B&W 805 Diamond loudspeakers and McIntosh amplifiers. This indie rock LP carries more innovations and experiments with the record medium than any other I can think of. Here are a few:
Underlabel groove: 2 hidden tracks engraved underneath the disc’s labels with music to be played through the paper (one track 78rpm, one 45rpm)
Outside lock groove: side A runs from the center out and ends with a lock groove near the edge of the record (aditional lock groove at end of side B)
Dual groove: first track of side B contains 2 different intros, one acoustic and one electric, depending on where you put the needle (side B runs as usual from edge of record to center)
Hologram area: hand-etched hologram by Tristan Duke (of Infinity Light Science) imprinted in dead-wax area of side A