The cradles of electronic music part 8

(excerpt from my e-book “New Concepts for Music and Sound”:

Experiment 3

In both experiments the composed parts contained rather simple timbres and sound developments – let´s say to “keep our musical feet on the ground” - whereas Ongaku delivered more complex sonic goings on. And the individual parts, the composed one as well as Ongaku´s answer – were rather long, not a real dialogue.

New Concepts for Music And Sound – Part 4

(Excerpt from my e-book about this topic:

What was so groundbreaking about the goings on in Cologne and Milano (and Paris and London, and....) in the 1950s? What was it that makes us call this early electronic music “revolutionary”? What´s all the fuss about anyway? Why should I care about Boisselet, Stockhausen, Eimert, Madera, Berio, Krenek, Cage and, and, and? Why isn´t it wasting of time to study these old guys when I´m indeed looking for new concepts NOW?

My Musical Dialogues With ChatGPT - Part 2 "Modular Synthesis"


After being nearly forgotten by the public modular synthesis has seen a great comeback in the last, let´s say 10 years. What are the reasons for that?



There are several reasons for the resurgence of modular synthesis in recent years:

  1. Versatility: Modular synthesis offers a high degree of versatility, allowing users to create a wide range of sounds and music. This versatility has made modular synthesis a popular choice among musicians, producers, and sound designers.

My Musical Dialogues With ChatGPT - Part 1 "Field Recording"

As more and more people have been talking about this ChatGPT thing recently, and even musicians and friends (and some of our members) have caught the fever, I have decided to have a detailed look at this thing. I was – and still are – rather skeptical and there are more than only a few aspects which make me even suspicious and alert. But as ignoring is a strategy of rather limited advantages I got the idea of testing ChatGPT by leading dialogues about matters I know a lot about – music and sound.

I´m going to publish these dialogues here at irregular intervals.


The Cradles of Electronic Music – Part 5

I ended up with the question “Isn´t a spectrum the same as (layered) chords, at least when working only with sine waves? “

Well, let´s have a look how the pioneers of electronic music in the 1950s tried to deal with questions like that, now, that they were confronted with completely new kinds of sounds in music.

One of the most systematically proceeding composers of that time is Herbert Eimert. He divided all (electronic) sounds in the following categories:




tone mixture