In many different ways in all kind of livesituations it is important to be surrounded by a supportive community. Specially in underground movements necessary to form a community to get visible and strong.
Male groups funktions more naturally with these concept. The camaraderie between men has always been developed through the army, in contrast, women had a more independent position in history and their survival, and the survival of their family was dependent on which man she married. I can well imagine that this basic prerequisite for the cohesion of women with one another only took place to a limited extent. After all, women mostly saw each other as competitors.
Through the freedom movement at the end of the 1960s, the removal of taboos on sexual freedom and the fight for women's rights, the doors of perception and respect have gradually been re-established and stabilized over the past 60 years.
If we look at our development over the last half century, we can see how much time change takes to reprogram old roles. And now we come to the real point of our article. We would like to pay tribute to a few freedom fighters of contemporary music from the last 60 years and to summarize them.
Let's start with Daphne Oram in the so-called 60s. She has been working in the BBC's music studio with modern tape recording techniques and developed the electronic recording instrument "Oramics" to form the future.
Also Delia Derbyshire is a genius and pioneer in the electronic Music and ahead of her time in the 60s. As a composer, musician and producer of electronic dance music she worked as well for the BBC called "BBC Radiophonic Workshop". Her best-known work is the theme music composed by Ron Grainer and interpreted electronically by her for the British television series Doctor Who. The music for Dr. Who was written in 1963. Derbyshire put Ron Grainer's composition into practice using individual oscillators that were recorded on tape and then manually looped and manipulated using simple techniques such as backward playback.
Here is a wonderful little documentary about her and the possibility of visions. Its a shame that the men dominated society did not appreciated about womens work these days, and still.
What men or the society even thought in the 80s about woman and electronic instruments is very clear in David Letterman`s show with Suzanne Ciani.
Suzanne:" This is the synthesizer, its called a profit synthesizer. And this is an arrangement of electronic gear, which i call the voicebox, which is mainly for prozessing voices, and other sounds....
Letterman: "Ah ok, that means nothing to anybody but you..."
As next delegates us Cosey Fanni Tutti cross-border and demanding. 1976 it caused a real scandal at its exhibition at the "Institute of Contemporary Arts". The provocative exhibition showed not only erotic images, but also tampons and pornographic material, and was rejected by conservative Britons and women's rights activists. Cosey Fanni Tutti has also appeared in several pornographic films.
At the same time she founded the experimental music and performance group with Genesis P-Orridge, Chris Carter and Peter Christopherson. From the radical project one of the first successful alternative record labels developed: Industrial Records (IR) and gave the name to an entire music genre: Industrial Music.
In the last episode of this article we want to pay our respect to Clara Rockmore. Born in 1911 in Vilnius was a classical violin child prodigy and a virtuoso performer of the theremin.
By the time Rockmore was playing large scale public concerts, such as New York City's Town Hall in
1938, she was becoming increasingly known for impressing critics with her artistry of the theremin during a time in which much of the general public had come to rather negative conclusions of what was possible on the instrument.
These performances with world class orchestras were also critical in establishing "electronic and experimental music as a viable art form in the public imagination."
Clara owned an RCA theremin given to her and substantially modified by Theremin. Through his modifications, the instrument's normal 5 to 5.5 octave playable range was expanded by 1.5 octaves. Theremin made several other customizations including improvements to tonal quality and its responsiveness to hand movements. The tubes are also customized and labeled in Theremin's own writing.
Well, i hope you did enjoy our travel in the times to remember what we are made of, and were we come from.
Cheers
Tatjana SNDR
Kommentare
Kommentar veröffentlichen