Electronic Music, Sampling, and the Tape Snippet: How the Experimental Studio of Polish Radio Made Itself Useful.
Warsaw's Experimental Studio of Polish Radio (1957–2004) was integral to public media production in Poland. At the its consoles, composers and engineers studied acoustics, made incidental sounds for television, radio, and film, and composed large-scale works that circulated at new music festivals ar...
| Publicado en: | Contemporary Music Review Vol. 39; no. 6; pp. 708 - 733 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
Dec2020
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=148721205&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 148721205 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 07494467 7VR jtl: Contemporary Music Review issn: 07494467 maglogo: N pubinfo: dt: Dec2020 vid: 39 iid: 6 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 148721205 10.1080/07494467.2020.1863007 ppf: 708 ppct: 25 formats: fmt: – @attributes: type: T – @attributes: type: P size: 595KB tig: atl: Electronic Music, Sampling, and the Tape Snippet: How the Experimental Studio of Polish Radio Made Itself Useful. aug: au: Bohlman, Andrea F. su: Radio stations Magnetic tapes Rudnik, Eugeniusz Sound recordings Former communist countries Experimental radio programs Avant-garde (Arts) Warsaw (Poland) Poland sug: subj: Warsaw (Poland) Poland Radio stations Magnetic tapes Rudnik, Eugeniusz Sound recordings Former communist countries Experimental radio programs Avant-garde (Arts) keyword: Cold-War Exchange Eugeniusz Rudnik Polish Avant-Garde Sampling Sound Engineers State Socialism Tape Music ab: Warsaw's Experimental Studio of Polish Radio (1957–2004) was integral to public media production in Poland. At the its consoles, composers and engineers studied acoustics, made incidental sounds for television, radio, and film, and composed large-scale works that circulated at new music festivals around the world during the Cold War. Their tape-oriented poetics, acoustic play, archival whimsy, and electronic production shaped the media imaginary of Polish science fiction, and provided soundtracks for radio plays and animated films for decades. Since its closure it has continued to generate creative projects that weave together an analogue electronic music past with the digital electronic music present. This article opens the doors to the Polish studio by following its central material, magnetic tape, through a range of contexts: the first composition realised at its consoles, a hip-hop history of the Polish twentieth century, as part of a cold-war gift economy among artist friends, and as the basis of a sample pack offered to users of the digital audio workstation Ableton Live. This material history reveals a range of uses for tape that urge us to revisit what it means for an arts institution under state socialism to frame its relationship to society as utilitarian. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Contemporary Music Review is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Contemporary Music Review holder: Taylor & Francis Ltd dt: @attributes: year: 2020 holdings: @attributes: islocal: N |
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