Relevant bibliographies by topics / Brussels. Electronic Music Studio

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Academic literature on the topic 'Brussels. Electronic Music Studio'

Author: Grafiati
Published: 4 June 2021
Last updated: 14 February 2022

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Journal articles on the topic "Brussels. Electronic Music Studio"

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Anderson, Mark. "A Music Studio in the Cloud [Software." IEEE Spectrum 47, no. 11 (November 2010): 26. http://dx.doi.org/10.1109/mspec.2010.5605886.

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Mumma, Gordon. "An Electronic Music Studio for the Independent Composer (1964)." Circuit: Musiques contemporaines 19, no. 3 (2009): 85. http://dx.doi.org/10.7202/038261ar.

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Iverson, Jennifer. "Learning the Studio: Sketches for Mid-Century Electronic Music." Contemporary Music Review 36, no. 5 (September 3, 2017): 362–87. http://dx.doi.org/10.1080/07494467.2017.1401364.

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IVERSON, JENNIFER. "The Emergence of Timbre: Ligeti's Synthesis of Electronic and Acoustic Music in Atmosphères." Twentieth-Century Music 7, no. 1 (March 2010): 61–89. http://dx.doi.org/10.1017/s1478572211000053.

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AbstractIn 1957, soon after his emigration from Hungary, György Ligeti began an internship at the electronic music studio of Westdeutscher Rundfunk (WDR) in Cologne. The three electronic works Ligeti produced there constitute a small portion of his oeuvre, but it is commonly acknowledged that his experiences in the studio were crucial for his stylistic development. This article makes specific analytical connections between the techniques of elektronische Musik that Ligeti encountered at the WDR and his sound-mass techniques in acoustic composition. The discourses in circulation in the electronic studio of the 1950s – especially as articulated by Karlheinz Stockhausen, Karel Goeyvaerts, and Gottfried Michael Koenig – reveal a collective obsession with gaining compositional control over timbre. By internalizing and reusing mainstream elektronische Musik techniques such as additive synthesis, filtering, and Bewegungsfarbe in an acoustic form, Ligeti brought timbre forward as the central compositional problem in the acoustic work Atmosphères.
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Casadei, Delia. "Milan's Studio di Fonologia: Voice Politics in the City, 1955–8." Journal of the Royal Musical Association 141, no. 2 (2016): 403–43. http://dx.doi.org/10.1080/02690403.2016.1216055.

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ABSTRACTThe Studio di Fonologia Musicale of Milan, Italy's first electronic music studio, opened in 1955. Housed in the national broadcasting (RAI) studios in Milan, the studio was founded by two celebrated Italian composers: Luciano Berio and Bruno Maderna. The institution is often remembered nowadays for being the first electronic music studio to focus its activity on the human voice. As I argue, this focus was not only of an aesthetic nature, but rather reflected long-standing political and intellectual conceptions of voice, speech and public space that were rooted in Italy's early days as a republic, and in mid-twentieth-century Milan as the flagship city for this newly achieved political modernity.
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Rogalsky, Matt. "Finger Exercises for Oscillators: István Anhalt on Electronic Music1." Circuit 19, no. 3 (October 8, 2009): 77–84. http://dx.doi.org/10.7202/038260ar.

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Abstract In conversation with Matt Rogalsky, composer István Anhalt discusses his association with Hugh Le Caine and the National Research Council laboratories in the 1950s, the founding of the electronic music studio at McGill, and his early experiences learning tape music and analog and digital synthesis techniques. The composer describes his early electronic works, the use of electroacoustic elements in his later music, and the importance of electroacoustic music in music education.
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Heidenreich, Achim. "‘Shaping Electronic Sounds like Clay’: The historical situation and aesthetic position of electroacoustic music at the ZKM | Institute for Music and Acoustics." Organised Sound 14, no. 3 (December 2009): 248–56. http://dx.doi.org/10.1017/s1355771809990069.

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Twenty years after the founding of the Karlsuhe ZKM | Center for Art and Media and its Institute for Music and Acoustics, we reexamine the institute’s position with regard to both aesthetic approaches and the 20 years of a reunified Germany. When the broadcasting corporations in West Germany decided to discontinue support for all of their electronic music studios except the Southwest German Radio’s Experimental Studio in Freiburg, the Institute for Music and Acoustics took on a special role that also had an impact on the course of music history in former East Germany. Together with the studio at the Berlin Academy of the Arts, the Institute became a studio for electroacoustic art that served the whole of Germany, though financed by local funding from the City of Karlsruhe and regional funding from the state of Baden-Württemberg. One of the artistic themes pursued at the ZKM’s Institute for Music and Acoustics is the combination of instruments and voice with electronics, for both theatrical settings and purely concert performances. The aspect of real-time composition gives rise to a lasting alteration of the performance situation and the character of the work produced.
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Chagas, Paulo C. "Composition in circular sound space: Migration 12-channel electronic music (1995–97)." Organised Sound 13, no. 3 (November 3, 2008): 189–98. http://dx.doi.org/10.1017/s1355771808000289.

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AbstractHow does production and spatial environment shape the aesthetics of electroacoustic music? Can the physical space, technology and network of relationships associated with studio activities environment be deeply embedded in the actual composition itself? Using my 12-channel electronic piece Migration as an example, this article demonstrates how the ‘materiality’ of the former Studio für Elektronische Musik of the WDR Radio, Cologne, Germany influenced the conception of ‘circular sound space’. Space in electroacoustic music is considered as embodiment of gestural experience driven by performance and composition. The discussion gives insights into the development of circular approaches of sound space in relationship to analogue and digital machinery. Particular attention is paid to the correlation between sound synthesis and sound space as a structuring principle of multi-channel electroacoustic music composition.
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Montano, Ed, and Simon Zagorski-Thomas. "Introduction to Production Technologies and Studio Practice in Electronic Dance Music Culture." Dancecult 6, no. 1 (2014): 1–7. http://dx.doi.org/10.12801/1947-5403.2014.06.01.00.

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Chambers, Paul. "The Studio as Contemporary Autonomous Zone: Crisis and Creativity in Electronic Music." Dancecult 12, no. 1 (November 16, 2020): 48–65. http://dx.doi.org/10.12801/1947-5403.2020.12.01.10.

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Dissertations / Theses on the topic "Brussels. Electronic Music Studio"

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Hargreaves, Steven. "Music metadata capture in the studio from audio and symbolic data." Thesis, Queen Mary, University of London, 2014. http://qmro.qmul.ac.uk/xmlui/handle/123456789/8816.

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Music Information Retrieval (MIR) tasks, in the main, are concerned with the accurate generation of one of a number of different types of music metadata {beat onsets, or melody extraction, for example. Almost always, they operate on fully mixed digital audio recordings. Commonly, this means that a large amount of signal processing effort is directed towards the isolation, and then identification, of certain highly relevant aspects of the audio mix. In some cases, results of one MIR algorithm are useful, if not essential, to the operation of another { a chord detection algorithm for example, is highly dependent upon accurate pitch detection. Although not clearly defined in all cases, certain rules exist which we may take from music theory in order to assist the task { the particular note intervals which make up a specific chord, for example. On the question of generating accurate, low level music metadata (e.g. chromatic pitch and score onset time), a potentially huge advantage lies in the use of multitrack, rather than mixed, audio recordings, in which the separate instrument recordings may be analysed in isolation. Additionally, in MIR, as in many other research areas currently, there is an increasing push towards the use of the Semantic Web for publishing metadata using the Resource Description Framework (RDF). Semantic Web technologies, though, also facilitate the querying of data via the SPARQL query language, as well as logical inferencing via the careful creation and use of web ontology language (OWL) ontologies. This, in turn, opens up the intriguing possibility of deferring our decision regarding which particular type of MIR query to ask of our low-level music metadata until some point later down the line, long after all the heavy signal processing has been carried out. In this thesis, we describe an over-arching vision for an alternative MIR paradigm, built around the principles of early, studio-based metadata capture, and exploitation of open, machine-readable Semantic Web data. Using the specific example of structural segmentation, we demonstrate that by analysing multitrack rather than mixed audio, we are able to achieve a significant and quantifiable increase in the accuracy of our segmentation algorithm. We also provide details of a new multitrack audio dataset with structural segmentation annotations, created as part of this research, and available for public use. Furthermore, we show that it is possible to fully implement a pair of pattern discovery algorithms (the SIA and SIATEC algorithms { highly applicable, but not restricted to, symbolic music data analysis) using only SemanticWeb technologies { the SPARQL query language, acting on RDF data, in tandem with a small OWL ontology. We describe the challenges encountered by taking this approach, the particular solution we've arrived at, and we evaluate the implementation both in terms of its execution time, and also within the wider context of our vision for a new MIR paradigm.
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Wilmering, Thomas. "Applications of Semantic Web technologies in music production." Thesis, Queen Mary, University of London, 2014. http://qmro.qmul.ac.uk/xmlui/handle/123456789/9078.

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The development of tools and services for the realisation of the Semantic Web has been a very active field of research in recent years, with a strong focus on linking existing data. In the field of music information management, Semantic Web technologies may facilitate searching and browsing, and help to reveal relationships with data from other domains. At the same time, many algorithms have been developed to extract low and high-level features, which enable the user to analyse music and audio in detail. The use of semantics in the process of music production however is still a relatively new field of research. With computer systems and music processing applications becoming increasingly powerful and complex in their underlying structure, semantics can help musicians and producers in decision processes, and provide more natural interactions with the systems. Audio effects represent an integral part in modern music production. They modify an input signal and may be applied in order to enhance the perceived quality of a sound or to make more artistic changes to it in the composition process. Employing music information retrieval (MIR) and Semantic Web technologies specifically for the control of audio effects has the potential to be a significant step in their evolution. Detailed descriptions of the use of audio effects in a music production project can additionally facilitate the description of work flows and the reproducibility of production procedures, adding an additional layer of depth to MIR. We substantiate the hypothesis that the collection of audio related metadata during the production process is beneficial, by comparing the results of various feature extraction techniques on audio material before and after the application of audio effects. We develop a formal Semantic Web ontology for the domain of Audio Effects in the context of music production. The ontology enables the creation of detailed metadata about audio effects implementations within the Studio Ontology framework for use in music production projects. The ontology contains inter-linkable classification systems based on different criteria constituting an interdisciplinary classification. Finally, we evaluate the ontology and present several use cases and applications, such as adaptive audio effects using and creating semantic metadata.
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Candlish, Nicola Anne. "The development of resources for electronic music in the UK, with particular reference to the bids to establish a National Studio." Thesis, Durham University, 2012. http://etheses.dur.ac.uk/3915/.

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This thesis traces the history and development of the facilities for electronic music in the UK. It covers the early attempts to experiment with electronic music and create studios in less than ideal circumstances and the subsequent bids to create a national centre. It also covers some elements of worldwide development of electronic music and sound recording, in particular those which occurred before 1965. The thesis calls upon non-traditional sources and the author was able to access many documents in the personal archives of electronic music pioneers. There is substantial reference to committees and societies for electronic music and their effects on the development of facilities for electronic music in the UK. Some of the early pioneers are studied in detail; these include Daphne Oram, Tristram Cary and Hugh Davies. Unprecedented access to information on Hugh Davies and Daphne Oram was provided by the family estates of these recently deceased composers. This allowed the author to gain valuable insight into the working patterns and methodology of these composers. Many references to later pioneers such as Trevor Wishart are also made but the focus remains on the facilities available to composers rather than the composers and their works.
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Meredith, Tamara. "Extending the Apprenticeship through Informal Learning on Facebook: An Interpretative Phenomenological Analysis of the Lived Experiences of Music Faculty." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984183/.

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Facebook studio groups/pages are commonly used by applied music faculty to communicate with current students, recruit new students, share students' activities, and promote faculty members' professional performances and academic endeavors. However, the blurred lines between academic, professional performance, and social activities in the field have led to a wide variety of approaches to Facebook use by music faculty. This dissertation documents the first generation of music faculty social media users and investigates the beliefs, intent, and lived experiences of music faculty who use Facebook studio groups/pages to communicate with their students. Four music faculty were interviewed and a semester's Facebook studio group/page data collected for each faculty member. Interviews and Facebook data were analyzed using Interpretative phenomenological analysis (IPA) to identify emergent, and ultimately super-ordinate, themes from the data. The three super-ordinate themes that emerged were: Impact of Social Media on Studio Teaching and Learning, Learning through Enculturation, and Faculty Lived Experiences with Facebook Studio Groups/Pages. Findings of the study included: faculty concerns about personal and professional risk; the observation that teaching and learning are occurring through these Facebook studio groups/pages by way of the process of enculturation, but without evidence of a Virtual Community of Practice; and, a multitude of group/page management practices developed in isolation that suggest a need for discussion/debate and training in the field to determine best practices for using Facebook studio groups/pages as an extension of the physical studio. Recommendations include training for music faculty that situates Facebook studio groups/pages within the enculturation process of students pursuing careers in music, music department development of guidelines for Facebook group/page creation and management based upon their institutions' rules and oversight procedures, and the sharing of exemplar Facebook studio groups/pages by professional music education organizations to encourage discussion of best practices for teaching and learning in informal environments.
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Books on the topic "Brussels. Electronic Music Studio"

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Wilkie, Godric. The studio musician's jargonbuster: A glossary of music technology and recording. London: Musonix, 1993.

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Wilkie, Godric. The studio musician's jargonbuster: A glossary of music technology and recording. London: Musonix, 1997.

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Holland, Sam. Teaching toward tomorrow: A music teacher's primer for using electronic keyboards, computers, and MIDI in the studio. Loveland, Ohio: Debut Music Systems, 1993.

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Das Siemens-Studio für elektronische Musik: Geschichte, Technik und kompositorische Avantgarde um 1960. Tutzing: Verlegt bei Hans Schneider, 2014.

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Scaldaferri, Nicola. Musica nel laboratorio elettroacustico: Lo Studio di fonologia di Milano e la ricerca musicale negli anni Cinquanta. Lucca: Libreria musicale italiana, 1997.

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Morawska-Büngeler, Marietta. Schwingende Elektronen: Eine Dokumentation über das Studio für Elektronische Musik des Westdeutschen Rundfunks in Köln, 1951-1986. Köln-Rodenkirchen: P.J. Tonger, 1988.

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Flašar, Martin. Poème électronique 1958: Le Corbusier, E. Varese, I. Xenakis. Brno: Masarykova univerzita, 2012.

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Das Experimentalstudio der Heinrich-Strobel-Stiftung des Südwestfunks Freiburg 1971-1989: Die Erforschung der elektronischen Klangumformung und ihre Geschichte. Baden-Baden: Nomos, 1995.

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Fruityloops: The Ultimate Electronic Virtual Music Studio (Quick Start (Music Sales)). Music Sales Corporation (United Kingdom), 2003.

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Performance Practice of Electroacoustic Music: The Studio Di Fonologia Years. Lang AG International Academic Publishers, Peter, 2018.

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Book chapters on the topic "Brussels. Electronic Music Studio"

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Schedel, Margaret. "Electronic music and the studio." In The Cambridge Companion to Electronic Music, 24–37. Cambridge University Press, 2007. http://dx.doi.org/10.1017/ccol9780521868617.004.

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Schedel, Margaret. "Electronic Music and the Studio." In The Cambridge Companion to Electronic Music, 25–39. Cambridge University Press, 2017. http://dx.doi.org/10.1017/9781316459874.004.

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Holmes, Thom. "The Experimental Music Studio, University of Illinois." In Electronic and Experimental Music, 316–23. Routledge, 2020. http://dx.doi.org/10.4324/9780429425585-22.

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Holmes, Thom. "The Cooperative Studio for Electronic Music, Ann Arbor." In Electronic and Experimental Music, 308–15. Routledge, 2020. http://dx.doi.org/10.4324/9780429425585-21.

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Siwe, Thomas. "Electronic Music." In Artful Noise, 107–17. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043130.003.0008.

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With the end of World War II came the rebirth of European radio. Government stations in both France and Germany established experimental studios for research, from which arose a new kind of music, “electronic music.” The station in France, Office de Radiodiffusion Télevision Française (ORTF), was directed by the engineer/composer Pierre Schaeffer and his partner, Pierre Henry, who called their musical creations musique concrète. In Germany the Westdeutscher Rundfunk (WDR) studio produced music through the process of “synthesis.” This chapter will explain the difference between the two approaches used to create electronic music with examples from the percussion solo and ensemble repertoire. Early experiments using wire recorders, test records, and tape recorders by composers Halim El-Dabh, John Cage, and Edgard Varèse precede the major electronic works of Karlheinz Stockhausen, Mario Davidovsky, and the American composer Stephen Everett, whose use of computers in “real time” brings the reader into the next century.
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"EMS – The Electronic Music Studio in Stockholm." In A Cultural History of the Avant-Garde in the Nordic Countries 1950-1975, 164–74. Brill | Rodopi, 2016. http://dx.doi.org/10.1163/9789004310506_015.

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Iverson, Jennifer. "Reclaiming Technology." In Electronic Inspirations, 105–38. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190868192.003.0005.

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In the transition from World War II to the Cold War, military innovations were domesticated and repurposed for civilian, scientific, and cultural advancement. Information theory is one such discourse—birthed from Shannon’s wartime cryptography work at Bell Labs—that burgeoned outward in a series of connected, interdisciplinary spirals in the 1950s. The WDR studio was a locale where wartime “technology” (defined broadly to include ideas) was reclaimed for cultural gain. After the initial experiments of the early 1950s, composers found themselves hemmed in by technological limits and unhappy with the serial, pointillist music they had so far made. Enter Meyer-Eppler, a former Nazi communications researcher turned phonetics scientist and electronic music expert, whose information-theoretic teachings helped composers solve their problems in several ways: to understand when their music had been too information dense; to incorporate gestures, approximations, and perceptible shapes; and to circumvent the technological limitations of the studio. The core concepts of information theory—perception, sampling and continuity, and probability—became the foundation for much mid-1950’s music from a range of composers in the studio and beyond. Working cooperatively, scientists, technicians, and composers participated in a process of culturally reclaiming information theory from its wartime origin, making it the conceptual foundation for 1950’s avant-garde music.
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Iverson, Jennifer. "Epilogue." In Electronic Inspirations, 195–200. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190868192.003.0008.

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Midcentury electronic studios drove the development of high art music, but also fed back into the cultural sphere in many ways, proving consequential in scientific, architectural, and popular music domains. The phonetics–music collaborations, for instance, were carried even further in continuing phonetic, linguistic, and cognitive research in Cologne and beyond. The integrated serial designs of the WDR composers, and especially their optimistic utopian dreams, inspired architectural plans for a rebuilt German city that would coalesce around art-making spaces. In popular music spheres such as film sound and rock music, the avant-garde music of the WDR composers, as well as new electronic synthesizers, had significant impacts. These rich cross-pollinations are due in large part to the heterogeneous, laboratory-like structure of the WDR studio, a structure that was replicated in the electronic studios that sprung up in the United States, Asia, and Latin America. In summary, the WDR studio had far-reaching consequences that were both structural and aesthetic. Cultural wounds were exposed and salved as electronic music began to make progress in reclaiming wartime spaces, ideas, and technologies. The impacts of midcentury electronic music continue to reverberate today.
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Iverson, Jennifer. "Origins." In Electronic Inspirations, 23–48. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190868192.003.0002.

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In the early 1950s, the WDR studio founders articulated a guiding mythology: electronic music would be a timbral utopia, in which composers would finally have control over all aspects of the sound. In reality, the earliest WDR electronic works were little more than montages of radio-play sound effects. Studio technicians, working as invisible collaborators, produced the sounds, guided the technical processes, and even composed the studio’s first electronic pieces. Meanwhile, composers freely appropriated the technicians’ labor and creative ideas, thereby maintaining their authority over the studio’s first musical results. This dynamic of invisible collaboration, in which technicians provide essential tacit knowledge behind the scenes, is comparable to the culture of a scientific laboratory. As the vignettes in this chapter reveal, the WDR studio was a site for experimentation, collaborative creation, and hierarchical reappropriation.
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Iverson, Jennifer. "Introduction." In Electronic Inspirations, 1–22. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190868192.003.0001.

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The Westdeutscher Rundfunk [West German Radio] or WDR studio emerged in the early 1950s in Cologne, West Germany in a conflicted Cold War climate. On the one hand, electronic music signified social and artistic progress; avant-garde music stood as a reliable marker of democracy and freedom in contrast to Nazi and Soviet aesthetic mandates. On the other hand, technophobic audiences and critics reacted with skepticism to de-personalized, machine-mediated concerts, often regarding the new sounds with disdain. Nevertheless, cultural administrators, especially by means of the regional radio network, channeled funding to new music and the electronic studio as a way of rebuilding West Germany’s cultural hegemony. The WDR studio’s heterogeneity—its ability to incorporate and make use of several different types of resources—became a key to its success. The studio’s composers and technicians synthesized new sounds from scientific discourses. They reclaimed military technologies and long-standing musical lineages, opening up a new frontier. By embracing electronic music, West Germany found a way out of its decimated postwar landscape and emerged as a leader in the cultural Cold War.
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