Instruments | Radio Stations & Studios | Contemporary | Classical
From the 1950s, several composers began to discover the compositional possibilities in the technology of radio stations and specialized studios. Important centres were: Columbia-Princeton Electronic Music Center, New York, founded in 1951 by Vladimir Ussachevsky and Otto Luening; Studio für Elektronische Musik, Cologne, established by Herbert Eimert in 1951; Studio di Fonologia, Milan, established in 1953 and used by many avant-garde composers including Berio, Pousseur, Nono and Cage; Institut de Recherche et de Coordination Acoustique/ Musique (IRCAM), Paris, established in 1976 under the direction of Boulez.
Roberto Gerhard’s (1896–1970) Third Symphony (‘Collages’, 1960) incorporated sounds recorded in the composer’s garden, assisted by the BBC’s Radiophonic Workshop in London. Other fruits of collaborations with radio stations include Berio’s Visage (1961), which combined synthesized sounds with the electronically treated voice of his wife, the soprano Cathy Berberian.
Styles & Forms | Contemporary | Classical
Instruments | Computers | Contemporary | Classical
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