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node.musicLetter 001

Who is the author here?

Raymond Scott leaning on his Clavivox, racks of studio equipment behind him. Black-and-white photograph with a green graphic field on the left.

Raymond Scott and his Clavivox - the keyboard instrument he built before the Electronium.

Hi,

This is the first letter from node.music. Here is how it works: every two weeks or so, what went up on the site, a few things from the research that did not make it onto the site, and what to read if you want to go further.

This time - two nodes, two years apart, and one question they both keep asking: who is the author here?

// New on the site

1957 // Warsaw

Polish Radio Experimental Studio

In the Warsaw studio the composer came in with an idea and left without touching a tape machine: cutting and splicing was the staff engineer's job. Penderecki, for one, was scared of the voltage and left almost all of Psalmus to the man at the desk.

So whose piece is it? In thirty years the studio never closed that question. Meanwhile the engineer who cut everyone's tape started building pieces of his own out of the offcuts - no musical training, just what was left on the control-room floor.

What came of it, and why he refused a computer to the end of his life -

[READ MORE]
 

1959 // New York

Electronium

You have heard Raymond Scott. Everyone has: for twenty years his tunes ran under Bugs Bunny and Daffy Duck. What almost nobody heard is what he did next - ten years alone in a basement workshop, building a machine that composes on its own: it has no keyboard, the composer only presses a button and the machine answers with a phrase - press again and it goes faster, slower, or into a different rhythm. Scott called it a duet, and he was not joking: he gave the machine equal billing.

Motown ordered one of its own - to spec, for serious money - and put Scott on staff. And then - nothing. Not a single note recorded on it was ever released.

Why, and how the machine finally got heard in 2017, twenty-three years after Scott died -

[READ MORE]
 
// Not on the site

Four things from the research that did not fit on the site.

■Tape first, orchestra second
The Threnody is scored for 52 strings, and none of them sounds like a string. Penderecki knew why: he walked into the Warsaw studio the moment it opened, and then made the orchestra do what he had heard at the console. Half a century on he said it outright: without the studio there would be no Polymorphia, and the Threnody "doesn't sound like a string orchestra, but rather like electronic music."
■Conducting the city
In 1969 Krzysztof Wodiczko built the Personal Instrument - headphones and hand sensors that let the wearer filter the noise of the street and conduct it. Bohdan Mazurek helped build it.
■Six in a quintet
The Raymond Scott Quintette had six players. Scott thought there was a syllable in the word "sextet" that 1930s audiences would find distracting.
■He built the tape machines too
In 1952 Scott built two of the world's first multitrack recorders - seven and fourteen tracks on a single reel - and patented the head-mounting and tape-indexing mechanics that made them work.
// New in the bibliography

Three things to read after this letter:

>Monika Pasiecznik, A History of Electroacoustic Music in Poland from the Perspective of PRES 1957–1990 - the fullest history of the studio, from the ex-minister who paid for it to the Synthi AKS of 1973.
>Moskalewicz & Muzyczuk, Polish Radio Experimental Studio: A Close Look - the studio you can see: photographs, scores, audio, and Oskar Hansen's Black Room.
>Chusid & Winner, Raymond Scott: Artifacts from the Archives - 349 pages of Scott's own paper: notes, schematics, patents, letters. Open it for one date and lose an evening.

The full list is at nodemusic.cc/sources.

Next letter - with the next nodes.

Katerina

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