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Chadabe Electric Sound Pdf 13

Chadabe was aware that electronic music was a fragile medium. Technology changed rapidly; it was not easy to connect to a large audience; distribution of recordings was not stable and rather confidential. Furthermore, the history of this music was curiously poorly understood: Composers tended to focus on their work by adopting the latest technology, and scholars did not have the necessary training to understand something that, often, was only produced by loudspeakers [10]. When musicians used real-time techniques, it was even worse for them, because it led to a type of materiality whereby gestures activated sounds without instruments, through mysterious interfaces. Of course, there was also an increasing number of mixed pieces, in which instruments or the voice played with electronic sounds, but even this did not much motivate music scholars. The 1960s and the 1970s saw several attempts to make this music and the technology behind it more accessible, and Chadabe did participate in this effort. He collaborated on the ephemeral journal launched by Moog, the Electronic Music Review [11], and in 1975, he wrote a chapter for a book edited by Jon Appleton and Ronald Perera, The Development and Practice of Electronic Music [12].

chadabe electric sound pdf 13

After he retired from SUNY Albany in 1998, Chadabe continued teaching at New England colleges, such as Bennington College; he had already started teaching there in 1971 and was the director of its electronic music studio. He also joined the Manhattan School of Music (in 2001), as director of the electronic music studio, and shortly after, New York University (from 2002), as visiting professor. After he discovered the Kyma system [22], he made sure that those sites were equipped with it, and it became his main teaching and composing tool. His actions as educator have had deep influence on his students. He was always transmitting new ideas on the place of sound, music and the environment in his teaching, as well as in his writings.


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