Philippe Petit believes that Women’s Equality Day should be everyday and he is offering an Early ElectroMIX gathering ladies, pioneering early electronic music dedicated to his « Sisters with transistors ».

TRACKLIST:

Jocy de Oliveira – Estória (1981 / Fif) 00:00 > 00 > 11:25 

Beatriz Ferreyra – Demeures aquatiques (1967) 11:13 > 17:30

Daria Semegen – Electronic Composition No. 1 (1972 / Columbia) 17:09 > 22:55

Pauline Oliveros – Alien Bog (1967 / Pogus) 22:07 > 37:23

Alice Shields – Dance Piece No.3 (1970 / New World) 36:17 > 40:53

Micheline Coulombe Saint-Marcoux – Trakadie (1970/Radio Canada International) 40:50 > 51:45

Delia Derbyshire – Pot-au-feu (1969) 51:20 > 54:31

Daphné Oram – Episode Metallic (1964) 54:26 > 58:53

Jocy de Oliveira – Estória (1981 / Fif)

A series of sonic stories for voice and acoustic and electronic instruments – prepared piano, violin, percussion, synthesizers, electric celesta – a classic of the Brazilian electronic scene of the 1970s that sounds so fresh to my ears… 

Jocy De Oliveira began her career as a concert pianist, focusing on avant-garde works. She left Brazil at a young age to study in America and Europe, before being recruited by major orchestras on both continents. She worked under Stravinsky, who wrote pieces for her. She was the first performer chosen to play works by Berio, Xenakis, Santoro, Cage and Manuel Enriquez. Her performance of Messiaen’s Catalogue d’Oiseaux is still widely regarded as the definitive version. 

Since the early 1960s, Oliveira turned her attention to composition. A restless creative spirit, she embarked on a process of folding organised sounds into almost every possible context – public and private interventions, theatre, installations, film, video, tape, as well as the concert hall – blurring the boundaries between performance and composition, incorporating various media far beyond the world of sound… 

Beatriz Ferreyra – Demeures aquatiques (1967 / Sub Rosa)

Argentinean composer who studied music in Paris with Nadia Boulanger and worked at the Groupe De Recherches Musicales (GRM) from 1963 to 1970, where she participated with Guy Reibel in the production of recordings for Pierre Schaeffer’s Solfège de l’objet sonore (1967)… But above all she composed this masterpiece.

Since 1970, she has been working as a free composer and last year released two major albums for Room 40 and Persistence Of Sound…

Daria Semegen – Electronic Composition No. 1 (1974 / Columbia)

Daria Semegen is a contemporary American composer of classical and electroacoustic music, born in Bamberg, West Germany. She studied composition with Bülent Arel and Alexander Goehr and later taught at the Columbia-Princeton Electronic Music Center between 1971 and 1975. 

She is a figure on the academic side, linked to the conservatory and the university, and her writings cover a wide range of topics related to music composition and have been studied by other scholars.

She is currently Associate Professor of Composition, Theory and Electronic Music Composition at Stony Brook University, where she directs the Electronic Music Studio.

Pauline Oliveros – Alien Bog (1967 / Pogus)

Widely recognised for her Deep Listening, which favours music that is heard rather than heard… and much less for her earlier, more powerful work. In the early 1960s, Pauline Oliveros, Morton Subotnick and Ramon Sender formed the Tape Music Center in San Francisco, and it was there that she began her work manipulating electronics and tape. You hear her second piece playing the original Buchla Box 100 created for the Tape Music Center by Don Buchla. 

“I was deeply impressed by the sounds coming from the frog pond outside Mills’ studio window. I loved the accompaniment as I worked on my songs. Although I never recorded the frogs, I was of course influenced by their music.” 

Alice Shields – Dance Piece No.3 (1970 / New World)

A respected electronic composer, Alice Shields holds three degrees from Columbia University, including the Doctor of Musical Arts in Music Composition. She has served as Associate Director of the Columbia-Princeton Electronic Music Center and Director of Development for the Columbia University Computer Music Center.

She has taught the psychology of music as a professor of psychology at New York University and lectures on the psychology of music.

As a performer, Shields has been a professional opera singer, performing traditional and modern roles.

All of Shields’ compositions since 2000 reflect her immersion in classical music and Indian theatre.

Since 2016, Shields has been engaged in the study of Noh theatre.

Micheline Coulombe Saint-Marcoux – Trakadie (1970/Radio Canada International)

In 1968, at the suggestion of Iannis Xenakis, she went to Paris to familiarise herself with the ORTF’s Groupe de recherche musicale and worked there with François Bayle, Guy Reibel and Bernard Parmegiani. In 1969, she participated in several international festivals and founded the Groupe international de musique électroacoustique de Paris (GIMEP) with five young composers, which gave several concerts in Europe, South America and Canada between 1969 and 1973.

Upon her return to Quebec in 1971, in addition to teaching at the Montreal Conservatory, “she became fully involved in the Quebec and Canadian music scene by composing a succession of works for small ensembles, or commissions for large Canadian orchestras, compositions with strange titles, evocative of the climates she created, such as Trakadie.

Delia Derbyshire – Pot-au-feu (1969) 

Daphné Oram – Episode Metallic (1964) 

Both are for me heroines of British electronic music, essential to the BBC Radio Workshop from which they emerged in 1958… 

Delia Derbyshire created music and sounds for nearly 200 radio and television programmes, the most famous of which is the theme music for the British science fiction television series Doctor Who. She was the instigator of one of my favourite LPs, the wonderfully poetic ‘An Electric Storm’ by White Noise…

A pioneer of musique concrète, Daphne Oram is the creator of the Oramics technique, which creates electronic sounds from drawn sounds. As well as being a musical innovator, she was the first woman to independently run and set up a personal electronic music studio, and the first woman to design and build an electronic musical instrument.

Modulisme is a platform that aims to support original composing, for analog modular systems but not only… A radio program airing music made using modular systems… Each program lasts one hour and is especially dedicated to one composer and featuring some exclusive music made for us.
https://modular-station.com/modulisme/sessions/

Furthermore, Modulisme also produces Early ElectroMIX shows to document the history of experimental Electronic music from the 50s to the 80s…
https://modular-station.com/modulisme/early-electromix/