= 152,153,154 =

...Work with the piano continues, of course, and a fine example of recent advances is And Out Come the Night Ears (1978) by the Californian David Rosenboom. The piece combines an "improvisationally developed solo for piano" with an electronic system provided by Donald Buchla. The electronics are set to recognize and respond to various frequency ranges of the piano. The incoming piano tones trigger sound-modifying electronics while still maintaining a real-time relationship with the performer's activities.

...Another interesting approach has been that of David Behrman and his pieces for performers and interactive computers. Figure in a Clearing (1977) uses a microcomputer to trigger patches of electronic harmonies to which a cellist can play. The computer initiates chord changes using sixteen preset triangle wave generators. The rhythm or tempo of the changes is somewhat randomized through a triggering program that is "modeled after the velocity of a satellite in falling elliptical orbit about a planet." The cellist improvises in relation to these computer-controlled changes.

= 177 = New Music for Electronic and Recorded Media (1977), 1750 Arch S-1765

Johanna Beyer (Music of the Spheres), Annea Lockwood (World Phythms), Pauline Oliveros (Bye Bye Butterfly), Laurie Spiegel (Appalachian Grove I), Megan Roberts (I Could Sit Here All Day), Ruth Anderson (Points), Laurie Anderson (New York Social Life, Time to Go; For Diego).

Electronic works by women, mostly form the mid-1970s. There is a realization of a rare work by Johanna Beyer that dates from 1938, as well as one of Oliveros' tape flings from 1965.

New Sounds in Electronic Music (1968), Columbia Odyssey 32 16 0160

Steve Reich (Come Out), Richard Maxfield (Night Music), Pauline Oliveros (I of IV). Varied electronic works by three independent composers, produced by David Behrman. One of Reich's early recordings, Come Out was an early exploration into process pieces that later evolved into the minimalist movement. A splendid album.

= 179 =

Just for the Record (1979), Lovely Music VR 1062

Robert Ashley (Sonata), Phil Harmonic (Timing), Paul DeMarinis (Great Masters of Melody), John Bischoff (Rendevous).

A diverse collection of keyboard music performed by "Blue" Gene Tyranny. Aside from the Ashley piece, which is acoustic, the works are all electronic and use Polymoog, Hohner clavinet, and electronic modification. An interesting blend of structure and improvisation pervades these works.

= 189 =

Although the Beatles really ended their career prior to the synthesizer age, George Harrison's interest in the Moog (which he first used on his 1968 solo frolic "Electronic Sound") brought this unusual studio device into the sessions for Abbey Road... [ E. Sound was by Bernie Krous(sp?) and Harrison jh]