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Audio Craft Magazine

February/March 1967
First Creative Encounter With Electronic Music

This article s not an authoritative statement about electronic music. It is limited to a few general observations, and to a discussion of some vivid personal reactions to first creative experiences with the electronic music medium. Except for a three-week workshop in August 1965 at Trumansburg. N.Y.. under the auspices of the R. A. Moog Co., the author's only creative contact with the medium has been during the past summer (1966). He thus qualifies as a rank beginner. During the school year 1 965-66 a small electronic music studio was established at the University of North Carolina at Greensboro. The author is director of this studio, and has done all his subsequent electronic work there.

The following remarks, made from a composer's point of view, should serve three purposes: I) to explain to the reader why many composers are attracted to electronic music, 2) to acquaint him with some of the numerous problems and frustrations besetting the composer who works in this field, and 3) to allay common fears as to what may be happening to music now that tape recorders and musical electronics have made their appearance.

The initial reaction of a composer making his first attempt at electronic composition is likely to be a mixture of fascination, excitement, and frustration- a sense of wonder and freedom on one hand, and of technical embarrassment and limitation on the other. The composer is fascinated and excited because he now has the complete world of sound at his fingertips, he now is directly associated with sound throughout the entire process of composition, and, he now has the freedom to do anything he wants, that is, he can exercise total control over his material.

It is one thing to be excited about the possibilities, however, and quite another to be able to realize them. When one remembers how new this vast and varied world of sound is to composers. one appreciates the vital importance of rapid development of new compositional techniques, in order to organize and control this sound. Without adequate and appropriate skills, the electronic composer soon is hopelessly lost, no matter how inspired he may be. In the development of new technologies, it is important to bear in mind the inherent limitations of the ear in regard to perception and discrimination, since electronic equipment is capable of producing any kind and sequence of sound conceivable.

The creation and discovery of new sounds are a constant source of stimulation to the composer. His delight and involvement in this new musical world is also evident in a different attitude toward the sounds of every day life; he hears them aesthetically for their inherent beauty. If he likes, he can record these "live" sounds and use them in a composition. To the electronic composer the processes of "discovery" of natural sounds and the creation of electronic ones are similar, and lead to similar musical results, because the creation of interesting electronic sound is often an accidental discovery made in the process of working with the equipment, and, once recorded, the sounds are treated and processed in the same way, often beyond recognition of the original. Thus, there is no inherent problem in using both ""live" and electronic sound in the same composition.

Part of the attraction of electronic music is to be found in the intimate contact the composer has with his "work in progress"- the sense of immediacy and confrontation, of aural "give and take" between composer and composition. Every musical thought can immediately be heard as it was intended. No "calculated risk" is involved, no wondering whether "this will really sound like I hope it will."

Together with this real sense of contact comes a welcome freedom from the frustrating limitations of live performance and notation. There are no technically poor or unmusical performances (unless the composer himself is responsible!). Nor is the composer obliged to translate his musical thought into notation, a process that always renders musical thought imprecise and ambiguous. "Performance" is part of the composition itself; the art of electronic composition includes it. Such total creation of a work of art is a tremendous responsibility. The success of an electronic composition is largely dependent upon the degree of studio technique- electronic "performance" skill- the composer displays.

Now for the frustrations, of which there are many. Anyone with a limited supply of time, good will, or patience should stay away from electronic music. The sheer amount of technical knowledge needed to produce a respectable piece of music is staggering, as is the number of hours required to obtain this knowledge. Since formal (and informal) instruction in studio technique is usually unavailable, the only way a composer can learn is by trial and error, though composers who have had experience with audio and recording equipment have a distinct advantage. Regardless of background, however, all electronic composers are helpless if and when something serious goes wrong with their equipment. If it does they will be out of commission for some time unless they are fortunate enough to have the prompt services of an electronic technician.

Composing electronic music is, in many ways, like starting to compose all over again in an entirely new world with entirely new materials. The way in which one goes about composing- the kinds of ideas one conceives, how one conceives them, works with them, assembles them- is altogether different from what one is accustomed to. The change will be great regardless of personal style or compositional interests.

It is important for the composer to maintain the highest technical standards at all times. He dare not leave a single mistake or imperfection any-where. If he progresses too far beyond a flaw, it may become a permanent part of his piece. Even if it is possible for him to backtrack, doing so is extremely time-consuming and laborious; he must reconstruct the entire composition from the point of the mistake on.

The composer with minimal facilities is keenly aware of the limitations of his equipment, both in respect to quality and range, or versatility. (There are many things he would like to do, but cannot.) The composer must be able to work with the finest equipment if he is to produce a technically satisfactory composition. First-rate equipment is expensive; and individuals, especially, cannot always afford it. The fact that most audio and recording equipment is not specifically designed for compositional purposes, compounds the problem. Many desirable features and additional equipment that would be of great value to the electronic composer, are presently unavailable.

Some moderate limitations in respect to versatility, however may prove useful to the beginner. It is difficult not to be overawed, almost embarrassed, by the immensity of the world of potential sound; practical limitations help the budding composer to think more concretely, and to explore certain sounds more systematically. Focusing the attention on specific possibilities and situations facilitates the development of coherence. On the other hand, overly severe limitations restrict musical thought rather than guide it, and encourage an unimaginative approach to the medium.

The composer just beginning to work in electronic music may find the following advice helpful: take first things first, and do not become impatient. Start with simple, limited experiments in sound, and build these into short studies. Always insist on technical quality. Approach your work with humility; remember that you are just a beginner.

Some final words about machines and performers. It is still common to hear the following questions "Are machines taking over? Are performers becoming obsolete? What about the human element in music?" It is most important to realize that electronic music is only one sound medium among many, and that media complement, rather than supersede each other. Although certain media may be more popular than others at a given time, each has its own particular attractions for composer and listener, its own reservoir of latent beauty that succeeding generations and styles draw upon and develop, yet never exhaust.

One of the most exciting developments on the contemporary scene is a synthesis of performed and electronic media, a synthesis that combines live performance and the human presence on stage with the attractions of the electronic medium. Performers interested in the electronic field might well become involved in these infinitely varied possibilities of synthesis. Eventually, works will be written that incorporate all kinds of solo instruments and voices, and large and small ensembles. Lest some performers still despair, they should realize that electronic music is not the only exciting new development on the musical scene today. Demands upon their technical and interpretative skills are greater today than ever; performers are even called upon to do some of the work traditionally done by the composer. For example, the performer may be asked to make specific compositional choices on the spur of the moment in actual performance, or to improvise.

As for the human element in electronic music, it is evident that no machine or electronic apparatus is capable of doing anything without human direction. Machines, like conventional instruments, are tools used by human beings to achieve certain results. Indeed, studio equipment is the electronic composer's instrument. Although machines often manage to get out of hand, it is our duty to control them, to make them do what we want them to. The problem is one of technique, and, as we have seen in respect to electronic music, the process of acquiring technique, especially from the ground up, can be a long, laborious process.

Electronic equipment can be used to produce music or nonsense, good music or rubbish. Rubbish, however, is not the exclusive province of electronic music. Composers have always written good and bad music, as well as "non-music," at least as viewed by their contemporaries. It is unfortunately true that, during periods of experimentation such as ours, an above average amount of trash is pawned off on the public, since many listeners are not in a position to discriminate between good and bad.

The musical public, like the composer, must be patient, and show itself sympathetic to the many problems faced by those working in the field. These problems are not solved overnight; and though more and more composers are becoming involved every day, as yet only a relative handful have done extensive work in electronic music.

Although it is likely that few, if any, real masterpieces will be created for some time, there are already a number of good, respectable pieces of electronic music that, together with the many fascinating developments that are taking place, are worthy of our serious attention and support. All courageous musicians, amateur and professional, are urged to actively participate in the challenging venture that lies in the years ahead, and to contribute their talents and insights to help the budding new medium quickly and surely come of age.

Arthur B. Hunkins is a member of staff of the School of Music of The Uni- versity of North Carolina, Greensboro.