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ARTIST
TITLE
New Music for Electronic & Recorded Media
FORMAT
CD

LABEL
CATALOG #
NW 80653CD NW 80653CD
GENRE
RELEASE DATE
11/20/2006

Subtitled: Women in Electronic Music 1977. Works by Johanna M. Beyer, Annea Lockwood, Pauline Oliveros, Laurie Spiegel, Megan Roberts, Ruth Anderson, and Laurie Anderson. This is a long-awaited reissue of the CRI CD of the classic 1750 Arch LP. "The music on this album exhibits an exciting, wide-open, freewheeling approach to the medium of electronic music which has come to be typical of this genre in the late 1970s. No longer are composers obsessively concerned with the agonizing, expressionistic, and purely 'electronic' (synthesized) sound formulas which marked much of this music composed between the mid-'50s and the late-'60s. Instead, today we have composers willing to mix media and sonic materials in thoroughly inventive ways to achieve ends which are new-sounding, and often more engaging, than that of the 'academic' avant-garde. This is the outgrowth of a fundamental change in concerns which has been evolving not only among the composers on this album but also in a growing segment of the musical avant-garde, of which these members are some of the most fecund and inspired. These new sources of inspiration certainly were not as widely shared fifteen years ago. Several composers represented here are deeply concerned with Eastern influences: meditation, healing, trance, states of serenity. Others are inspired by traditional (or 'ethnic') musics and their subsequent metamorphoses into such popular forms as rock and roll. Still others bring to bear a sense of wit and satire, rarely a prominent feature of avant-garde music in the early 1960s. This first anthology of women's electronic music demonstrates great refinement and skill at work in a variety of different styles, several of which are unfamiliar or new even to those who follow contemporary music. The fact that these pieces are more listenable than that of the '60s avant-garde does not point to a musical regression as some critics have overeagerly assumed when discussing modern works using, say, consonant harmonic structures. Rather, and I think this is a common denominator for these pieces and something which women composers and artists have been instrumental in legitimizing again for this period in time, these works signify a new consciousness of the relationship of art to human life and the important and positive interaction which can be the role of a more personalized art in our day-to-day experience." --Charles Amirkhanian, August 1977