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Looper's Delight
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Very likely - the ORTF studio was set up in 1951, and the one in Koln in 52. Stockhausen was getting tired of 12ing by 55, that gives a decade of exposure to tape. But I can't find 1950s pieces by him as built from the raw using tape. The head shot used for Musical Quarterly's report on the 1960 I. S. C. M. Festival at Cologne by Peter Stadlen has him thoughtfully holding a reel of tape with the leader hanging down (but not cutting it looping it or splicing it, which are the standard tape action shots). More importantly he has his HANDS ON THE TAPE which no tape practitioner would ever do - even if it was a piece he hated, it would get dirt on the capstan and transport. So I think he isn't really into it then.
The stuff Schaeffer was putting out from the GRM was getting broadcast quite widely. Interestingly (to me anyway) the hidden heritage of all musique concrete is the musical experiments of Gurdjieff, as Schaeffer was midway between an afficianado and a disciple. Rude people have suggested his role at the GRM was like Gurdjieffs at Fontainebleau - and the number of composers who were his apprentices is astonishing. > Date: Sun, 26 Oct 2014 11:21:57 +0000 > From: akbutler@tiscali.co.uk > To: Loopers-Delight@loopers-delight.com > Subject: Re: Terry Rileys' mysterious French engineer tape loop innovator > > > > On 26/10/2014 07:58, Rick Walker wrote: > > > credit for inventing the technique > > c.f. > > http://en.wikipedia.org/wiki/Solo_(Stockhausen) > > If Stockhausen was sketching a tape delay based composition in 1964, > as related here, then it might be worth considering he was aware of the technique. > > andy > ps > don't forget this > http://livelooping.org/researchpapers/geoffsmith/Chapter_4.pdf > > > > > > > |