Electronic Bowed String Works: Some Observations on Trends and Developments in the

Instrumental/Electronic Medium
Author(s): David Neubert
Source: Perspectives of New Music, Vol. 21, No. 1/2 (Autumn, 1982 - Summer, 1983), pp. 540566
Published by: Perspectives of New Music
Stable URL: http://www.jstor.org/stable/832892 .
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ELECTRONICBOWEDSTRINGWORKS:
Some Observationson Trendsand Developments
in the Instrumental/Electronic
Medium

David Neubert

ABSTRACT
In this articleelectronicstringworks are classifiedaccordingto
medium(instrument)and means (electronicprocess).Various
examplesfrom the repertoireare referredto in discussingdifferent
combinationsof instrumentsand electronicsounds.The concluding
section discussessome of the goals and future trends in this medium.
In addition,a substantiallist of bowed stringworks involving
electronicsor processesis presentedin the last section.
CATEGORIZATIONAND DISCUSSION OF WORKS
Electronicstringworks may be classifiedaccordingto the
instrumentsand the electronicprocess,in short, the mediumand the
means.In this article,only those bowed-stringinstrumentswhich fall
into the traditionalviolinfamilywill be dealt with. They are the
violin,viola, cello, and doublebass.Solo applicationsas well as string
quartets,mixed ensemblesand orchestralworks will also be discussed.
For the sake of brevity only one work from each mediumbut

541

producedby differentmeanswillbe mentioned.Sincethereis an

excellent,but brief,accountof manyof the structuralformsof these
worksin DavidErnst'sbook,TheEvolution
Music,andin
ofElectronic
PaulGriffiths'
Music,thoseareaswillbe
book,A GuidetoElectronic
omitted.
The "means"in the instrumental/electronic
mediumfallinto
threeprimarycategories:(1) withtape,(2) withelectronics,or (3)
studioprocessed.The firstcategory,instrument(s)
withtape,is the
mostcommontype sinceit is the mostaccessibleto liveperformance,
(allone needsis a taperecorder,amplifierandloudspeaker
system).
The secondcategory,instrument(s)
withelectronics,is usuallythe
resultof a composer-performer
collaboration
andoftenis restricted
to thosewhohaveaccessto the necessaryequipment(whichmay
andtaperecorderto an elaborate
rangefroma contact-pickup
modularsynthesizersystem).The thirdcategory,instrumental
sounds
in
a
was
for
never
intended
live
processed recordingstudio,
performance,
perhapsfor commercialreasonsor becausethe
electronicprocesswasnot technicallyfeasiblein a liveperformance
situation(e.g. varioustapeoverdubsandmixes).Inotherwords,
economicfactorshavenearlyrestrictedthiscategoryto recorded
music.

Inorderto analyzeinstrumental
andelectronictapepieces,
severalfactorsmustbe takenintoaccount.Firstof all,the timeof
originfor the particular
pieceis importantsincethiswilldetermine
the technological
devicesavailableto the composer.Forinstance,a
a
anda real-timecomputersynthesizer
taperecorder, synthesizer,
werealldevelopedat differenttimes.Second,the composerand
natureof the workare importantsincethesewilldeterminethe
generalstyleandsyntacticalfeaturesof the work.A composerfrom
Columbia-Princeton
electronic
studio,perhapstrainedin the "classical
music"tradition,willcertainlyapproachan instrumental/tape
piece
than
a
in
trained
real-time
differently
composer
performance
practices.Of course,it maybe arguedthateachindividual
composer
hascreatedhisownstyleandeven thisstylemayvaryfrompieceto
piece.Third,thereis a big differencein the approachto an electronic
mediumandan instrumental
one. The obviousdifferenceis the sound
source:in the caseof an electroniccomposition,
thiswouldbe the

542

tape recorderand speakersrather than a humanbeing and an

acousticalinstrument.Dynamic indicationsin terms of electronic
devices simplymeansan adjustmentof amplitudeas it relatesto a
particularvoltage. However, dynamicsin instrumentalwritingcan
also change the timbre of an instrumentas well as the loudnessor
amplitudeof a sound.The same cross relationshipsexist in changesof
articulation,note speed (variousattack and decay transients),and
registershifts.Therefore, the instrumental/electroniccomposermust
be aware of these relationshipsand their effects in composingfor both
mediumssimultaneously.The easiest solutionis to juxtaposethe
acousticand electronicmaterialon tape. With the advancementof
technologicalresourcesand the developmentof expanded
performancetechniques(which may be a resultof imitatingelectronic
effects), the composercan combineboth mediums.The reasona
composerwould choose to combineboth the instrumentaland
electronicmediumsis to give the added visualdimensionof a live
performancefor the audience.This extra dimensionenhancesan
otherwiseuninteresting"performance"of loudspeakerssittingon the
stage of a nineteenth-centuryconcert hall that was designedfor
people, not for machines.
The developmentof instrumental/tapeworksbegan with Edgard
Varese duringthe early 1950'swhen he composed "Deserts"for
orchestraand tape. In fact, most of the early pre-1960
instrumental/tapecompositionswere for this mediumof orchestra
and tape. Note the severalworks of this naturethat Otto Luening
and VladimirUssachevskycomposed in the 1950's(see bibliography).
Becauseof the advancesmade in technology,especiallyin the
area of electronicsoundproduction,composershave made use of the
new resourcesin variousways. Timbralcontrol and exploration
seems to be the majorarea of musicalconcern since 1945 (postWebern).Instrumentaland tape combinationsoffer a wide variety of
sound sources.The tape can contain pure electronicsounds
(producedeither by an analog or a digitalsynthesizer),instrumental
soundsalteredelectronically,"natural"sounds(musiqueconcrete), or
any combinationof these sounds.The timbralrelationshipbetween
the tape and the instrumentmay be similaror contrasting.The

543

primaryreasonwhy composerschose the orchestrainsteadof

individualinstrumentsin the early stages of developingthe
instrumentaltape mediumis that the timbralcontent of the orchestra
containedenough diverse timbralchoices to be readilycombinedwith
complex electroniceffects. Becauseof this complexity,and frequent
lack, of fine timbralcontrol duringthe early efforts in electronic
music(with tape recorders,musiqueconcrete, and sine tone
generators),the primarymediumfor such works was one which
offeredthe greatest variety in color-the orchestra.In other words,
the natureof electronicsound productionat that time requireda
diverse timbralsound source to be compatiblewith a similarlyrich
electronicmedium.It shouldbe noted that the technicallevel of most
performersat that time did not includethe many diversifiedtechnical
skillsexpected of today's musicians.Some of these skillsrequire
severaldimensionsof performanceto occur simultaneously.For
instance,KennethGaburo'swork "Inside,"written in 1969, is literally
a quartetfor one doublebass player.Not only is the performer
expected to play his instrumentin a traditionalmanner(bowing or
pluckingthe strings),but he must also enunciatephonetic symbols,
make extravocalsounds,and make percussivesoundson the body of
the instrumentsimultaneously.BertramTuretzky'sbook, The
and David Cope's book, NewMusicNotation,
Contrabass,
Contemporary
both give severalexamplesof new instrumentaltechniquesdeveloped
since 1960.
The level of prioritygiven to musicalparameters,such as pitch,
loudness,time placement,and timbre,is an area that concernsthe
relationshipbetween the instrumentaland electronicmedium.The
standardin Western musicup untilthe twentiethcentury was given
to tonal ordering,after which temporalfactorsbecame the primary
focus. With the advent of electronicmusic techniques,particularly
since the developmentof the tape recorderand musiqueconcrete,
the musicalparameterwhich has been given primaryfocus is timbre.
Timbraldesignsare the buildingblocks that enable composersto fuse
the diversityof sound mediums,(includingnatural,mechanical,and
electronicsources)which are now available.Since the earliestefforts
in combininginstrumentsand electronics,timbrehas been a major

544

factor in structuringand integratingthe work as a whole. This is not

to say that there have been no exceptions,for a piece such as Otto
Luening's"Gargoyles"utilizestemporaland motivic relationships
more than timbralones in creatingan overalldesignfor the piece.
The first work to be analyzed,written in 1952, is consideredone
of the earliestsolo instrument/tapepieces known:Henk Badings'
"Capricciofor Violin and Two SoundTracks".As the title explains,
this is a short, humorousor capriciouswork in ternaryform. Instead
of "tape",the composerhas specifiedtwo sound trackssince stereo
was a new technologicaldevelopmentat that time. One of the
primarydifficultiesthat the composer must contend with is cueing the
performerin on the score (if there is one). Or, he could simplybase
the work on aleatoricprocesses.The tape part may be
accompanimental,background,or on an equal solo basiswith the
performer.The functionof the tape here is accompanimental,similar
to a piano'srole in a sonata,and is set in time with the violin part. A
uniqueaspect of this work is the complementarytimbresestablished
duringan imitativepizzicatosection of the piece. There are motivic
devices used in both mediumsalthoughthe tape portionis usually
subservientto the violin,using incessant,robot-likemotivic
configurations.The introduction,for tape alone, immediately
demonstrateswhat two sound tracks are like by an exaggerated
panningeffect. Structurally,there are clearlydelineatedsections
throughoutthe work.
The tape portionof this work was completedusing only twelve
oscillators(probablysine tone generatorsand a noise generator)and
the aid of a technicalassistant.These sound sourcesfor the tape
portionwere the only electronicresourcesavailableat that time.
Therefore, it is understandablethat this work is a hybridform,
combininga traditionallyclassicalform with an electronicmedium.
Since this work requireda technicalassistantto create it, the question
of who actually"composed"the electronicportionarises.
This gap in technicalknowledgeand skillbetween the composer
and the electronicidiom has usuallybeen a point of concern. Many
present-daycomposershave filledin this gap by workingdirectlywith
an engineerin designingan electronicsynthesizerto their needs and

545

specifications.Two examplesof such a collaborationare Jon Appleton

workingwith Sydney Alonso and CameronJones in developingthe
SYNCLAVIER,and Allen Strangeworkingwith Donald Buchlaon the
design of the ELECTRICMUSIC EASEL.David Tudorand Gordon
Mummahave actuallycombinedthe roles of musicianand engineer
by buildingand performingon their own electronicinstruments.The
integrationof a traditionalkeyboardinto an electronicsynthesizeris
another example of hybriddevelopment.
The primarytechniquefor developingan instrumental/
electronicmediumhas been to integrateelectronicand instrumental
soundstructuresby meansof tonal, temporaland timbral
relationships.During the early stages of developmentin instrumental
tape music,the sound sourceswere entirelydifferent-either pure
electronicsor pure instrumentalsounds.Graduallythe sourcesbegan
mergingeither throughimitativesound synthesisor through
incorporationof the instrumentalsound into the electronicmedium.
These two mediumswere controlledindependentlyfrom each other
-the performercontrolledthe acousticalinstrumentand the tape
recorderor synthesizercontrolledthe electronicsounds.
The Synchronismseriesby Mario Davidovskyis indicativeof
the evolutionarytrend in developingan instrumental/electronic
medium.His early three synchronismsdeal primarilywith integrating
both mediumsby means of rhythmicand tonal "synchronization".
Althoughtimbralassociationsare not mentionedby Davidovskyon
the record jacket of his first three synchronisms,"SynchronismNo. 3"
for cello and tape written in 1965, effectivelyintegratesinstrumental
and electronicsoundsin terms of color. A good exampleof this type
of timbralintegrationoccurs towardsthe end of the work when the
cello sustainsa low C-sharpand the tape part literallytakes over this
same pitch by imitatingthe cello timbre.In fact, this trend continues
in his later pieces, written in 1970, whereinhe simplyuses prerecordedinstrumentalsoundsto form the tape portion,thereby
avoidingthe technicalproblemof actuallysynthesizing"real"
instrumentalsounds.This series,particularly"SynchronismNo. 3",
also representsan excellent example of the composercarefully
scoringin tape cues for the performer.A majorprecedentwas then

546

establishedfor scored works to includea separatetape part in the

score.
The trend to fuse electronicand instrumentaltimbreshas led
composersto actuallyuse instrumentalsoundsas a source for the
"electronic"tape part. LucianoBerio'sDifferences
for mixed ensemble
is a good exampleof this process.He uses pre-recordedinstrumental
soundsto complementand exceed the naturalboundariesof the live
instruments.The resultis richertexture and more intriguing
climacticsections.
Worksfor stringinstrument(s)and tape recorder(s)form another
developingarea of fusionbetween the electronic"effect"and the live
instrument.A good exampleof this is Steve Reich's"ViolinPhase,"
writtenin 1967,which emphasizesthe electronicprocessin the
temporaldimension.The graduallychangingpatternof an initial
phraseestablishedby the violinbecomes the listener'sfocus. It is the
resultof the performernot playingexactly together with the
recordedversion(i.e. playing"out of sync").Another exampleis
RobertErickson's"Ricercara 3",also written in 1967,for doublebass
and two recordedsoundtracks.A tape loop ostinatobecomes the
foundationfor furtherperformancedevelopment.This piece resulted
from a technologicalapplicationand, interestinglyenough,can also be
performedby three playerswithout any electronicassistance.Since
the tape part was originallybuilt on a live-recordedperformance,the
work can be performedby substitutingtwo playersfor the sound
tracks.
An area of designthat has evolved from the trend of the fusion
processis havingthe instrumentand/or performeras the control
source for the electronicsoundmedium.Since the performercan
readilycontrol his own volume and pitch levels, these variablescan be
translatedelectronicallyinto electric voltages (pitch to voltage
converter and envelope follower).These control voltages can, in turn,
operate the modifyingdevices that are affectingthe original
instrumentalor electronicsoundsource. For instance,the amount of
filtrationor timbralcharacteristicsof a violin may be changedby
playinglouderor softer, or by playingon a higheror lower pitch
level. These control applicationsextend to as many voltage-

547

controllabledevices as are available.Joel Chadabe,in his work "Soft

Edges",writtenin 1974 for stringquartetand Daisy (pseudo-random
digitalsequencer),eloquentlyutilizesinstrumentalvolume to control
the sequencerclock (thus controllingits time rate) and other
parametersof the electronicsystem (volume,filtration,
modulation,etc.).
The early tape and computermediumsboth have the common
element of rigidtime control in orderingmusicalevents. Temporal
manipulationis readilyaccessiblein the tape mediumsince distanceor
length of tape is directlyproportionalto time. Therefore, it is of no
surprisingconsequencethat the earlierworkswere percussivein
texture and structurallyintegrated,often by direct juxtaposition,into
the piece. The technologicalmedium,then, was a primary
determinantin the finalform of the work. It is interestingto note that
with the incorporationof computerlogic in the compositional
process,the net resultis often rigidlystructuredinto separatesections
with no overlappingforms or cohesive motivic design.Some common
compositionaldevices used here are to overdubsections,introducea
new temporarysoundto mask the transition,or directlyjuxtapose
the material.Consequently,the resultsare highlystructuredand
sectionalizedworkssuch as Otto Luening's"Gargoyles",an early tape
piece for violin,or J.K. Randall's"LyricVariations"for violinand
computer.Bothof these workshave clearlydelimitedsectionsin a
logicalformat.In fact, some worksare based structurallyon
computeralgorithmsalone, such as LejarenHiller's"IlliacSuite for
String Quartet",written in 1957.This work and others from the
Universityof Illinoisare processedelectronicallyon a control level
ratherthan soundlevel. The finalcomputedscore is performedby
acousticalinstruments,usuallywithoutany electronicmodification
added.An even more successfulcombinationin terms of fusingthe
instrumentaland electronicmediumis in BarryVercoe's"Synapsefor
Viola and Computer",written in 1976. Severaltimes duringthe work,
the tape part (computergenerated)is indistinguishable
from the viola
This
of
timbral
association
is
more
than
direct
part.
type
eloquent
juxtapositionor overlappingof parts.With new computerdesigns,the
control factor will play an importantpart in structuringinstrumental/

548

electronicworks.Sincethe computeris capableof handlingmultifacetedcontrolssimultaneously,

thiswillenablethe performerto
all
of
Thismayeven
manipulate
directly aspects hisperformance.
includethe designandstructureof the workas it is beingperformed,
or "executed"
in termsof computerlanguage.The composerwill
a
prepare computerprogramfor the performerto workfromin
whichthe performermaybranchanddeviatefreely.Perhapsthere
willno longerbe a distinction
betweencomposerandperformerin
thistype of music,onlybetweenhardwareandsoftware.
The stringquartetmediumtraditionally
hasbeena challenging
areafor composers.Considering
the timelessmasterpieces
of Mozart,
and
it
is
difficult
for
the
moderncomposer
Beethoven, Bart6k,
enough
to competein sucha medium,let alonecompeteby addinganother
dimensionof electronicsound.LeonKirchner's
"StringQuartetNo. 3",
writtenin 1967,is successfulin thathe wascarefulnot to stepout of
the "bounds"
of traditional
stringquartetwritingandyet
an electronictapepartthatis absolutelyan integralpart
incorporated
of the wholework.The primaryfocusof the workis the "tape
cadenza"whichallowsthe performers
to interactfreelywiththe tape
soundswithincertainlimitations
of timeandinstrumental
effects.
The questionnowariseswhetherelectronicprototype
willsupplantthe original,acousticalones.Perhapsnot,
instruments
sincea newmediumwillmerelybe created,justas the electricguitar
readilyfit intothe jazz/rockidiomanddidnot takeover the roleof
the acousticalguitarin the traditional
idiom.Thereare
classical/folk
newelectronicinstruments
in
music,suchas
appearing contemporary
BertramTuretzkyperforming
on an electronicbass(the "BulaBass")
andAmiRadunskaya
Radner)
(Amy
usinga modifiedelectriccello.
To coverresearchanddevelopmentcosts,thesenewelectronic
instruments
willprobablybe usedfor commercialpurposes.Already
variousjazz,rock,andcountrymusicians
are incorporating
electronic
stringeffects;JeanLucPonty(electricviolin),JohnCale(electric
violain the VelvetUnderground),
the ElectricLightOrchestra,
CharlieDanielsBand,VascarClements,PapaJohnCreach,andDavid
to namea few.
Grissman,
MaxMatthewsdevelopedthe electricviolinwhichhasnot only
beenusedfor experimental
acousticsstudies,but alsois usedin

549

EmmanuelGhent'swork "Concertofor ElectricViolinand Computer

Brass",writtenin 1976. In addition,George Crumb'swork "Black
Angels",writtenin 1970, was originallycomposedfor these "electric"
instruments.Bothof these worksexplore the acousticalpossibilitiesof
a stringinstrumentimitatingelectroniceffects. Some examplesof
effects",as David Ernstterms them, are col
these "quasi-electronic
and tratto(strikingor drawingthe bow with the wooden
legnobattuto
sul
tasto
part),
(bowingover the fingerboard),sulponticello
(bowingnear
the bridge),glissando
wide vibrato,snap
(a portamentoslide),tremolo,
or Bart6kPizzicato,and variousother traditionalstringtechniques.
Some non-traditionaltechniquesthat have resultedfrom composers
trying to imitateelectroniceffects (the previouseffects existed before
the advent of electronicsounds),are: grindingbow sounds
(exaggeratedbow pressureused by Pendereckiin "Threnody"),
circularbow sounds(creatingthe illusionof changingtimbresor
"filtering"the sound),bowing the tail piece or side of the bridgeor
other instrumentparts,harmonicglissando(naturaland artificial,
which imitatesthe soundof a high-Q low passfilter),and pizzicato
tremolo (perhapsborrowedfrom Flamencoguitarplaying).
written in 1970,
JacobDruckman's"Synapse/Valentine",
a
than
of
fusion instrumentaland
represents juxtapositionrather
electronicsounds.The instrumentalportion,"Valentine"for solo
doublebass,is usuallyperformedwithout the introductorytape
counterpart,"Synapse",and involvestheatricalelementsas well as
acousticalevents. This requiresa live performanceto understandthe
visualgestures,especiallythe first twenty secondswhich are only
inaudiblepantomimemotions.One of the coherent elementsbetween
these two pieces, in additionto all the various"quasi-electronic"
effects previouslymentioned,is the characterof humor.In "Synapse"
the humorouseffects are created by gross gesturessuch as extreme
registershifts,exaggeratedglissandi,and circus-typerhythms.Similar
effects are imitatedin "Valentine"as well as the virtuosicdisplayof
severalsimultaneousevents such as playing,speakingor singing,
tappingthe instrument,and makingfacialgestures.Perhapsthis
simultaneityof events is a humanendeavorto mimicthe functionof a
multi-tracktape recorderor computerprogram.

CONCLUSION
In listeningto and analyzingthe variousforms of electronic
bowed stringworks,it appearsthat the trend is towardsa
homogeneousblendbetween the traditionalacousticinstrumentand
the electronicmedium.This blend has been achievedby timbral
imitationbetween both mediums.This has been done by developing
new instrumentaltechniquesthat are "quasi-electronic",
using
electronictechniquesto synthesizeinstrumentalsounds,or
manipulationof instrumentalsoundselectronically,either live or in a
studio.The next step will be to includegreater flexibilityin terms of
total soundproductioncontrol by the performer.
These works shouldbe looked at not only from the listener's
but also from the composer'sand performer'sframe of
"ear-point",
mind.In discussingsome of the performancedifficultiesencountered
among variousperformingartists,the generaldifficultymentioned
about many tape works is the lack of personal-or perhaps"random"
-interaction with the accompanyingtape part. By incorporatingreal
time interactivedevices such as proximitysensors,envelope followers,
and pitch to voltage converters,the performeris allowedto take an
active role in the creative process.
One of the end resultsof electronicbowed stringworksis the
extensionof the range of traditionalinstruments.Justas Wagner
extended the range of the orchestralinstrumentsinto a virtuosic
capacity,so has the fusionof art and technology broughtabout a new
catalog of performancetechniques.Imitativeprocessesinvolvingboth
electroniceffects and stringeffects resultedin attemptsto establisha
common timbre.With the advent of computertechnology,perhaps
a perfect fusionwill somedaybe achieved.When that fusionoccurs,
the instrumental/electronicmediumwill no longer be a hybridform
- it will be a new and unifiedone.

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andPracticeof Electronic
Appleton,Jon H. and RonaldC. Perera,eds. TheDevelopment
Music.EnglewoodCliffs:Prentice-Hall,Inc. 1975.
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Causse, Rene and Vinko Globokar,KlausHeitz, and Max Mathews. Unite
Destinee
du sonen Temps
Electronique
et Controlable
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Reel,Programmable
Paris:IRCAM(Institutde Rechercheet Coordination
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Music.Toronto: University of Toronto
Cross, LowellM. A Bibliography
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Press, 1963.
Davies, Hugh. "RepertoireInternationaldes MusiquesElectroacoustiques,"in
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in Music.Berkeley:University of CaliforniaPress,
Erickson,Robert. SoundStructure
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Music.New York:Schirmer, 1977.
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Music.New York:Thames and Hudson, 1979.
Griffiths,Paul.A GuidetoElectronic
deMusiqueet leurRealisation.
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Kellogg, VirginiaKatherine.A New Repertoire:
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UniversalEdition,New Music:MusicSince1950. Vienna, 1978.

LISTOF ELECTRONICBOWEDSTRINGWORKS
The followingabbreviationsdesignatethe performingmediumandmode of modification:
O Orchestra and Tape
E Ensembleand Tape
Q String Quartet and Tape
D Duo or Trio and Tape
S Solo String Instrumentand Tape
T Tape Recorder ModificationLive or in Studio
M ModifiedElectronicallyLive or in Studio
P ProcessedCompositionby Computer Algorithms
N No Electronics,InstrumentalEffects Only

E Ahlstrom,David Sonata No. 8 for Contrabass,Tape, Balloons,and other

instruments 1966
Disc: PyramidRecords,N.Y
Q Arel, Bulent Music for String Quartet and Tape
Score: Composers FacsimileEdition,N.Y.

1962

SM Austin,Larry Quadrants:Events/Complex Number Three for violin,

1972
"Daisy,"and 4-channeltape
Score: BowdoinCollege Press;Brunswick,Maine (1975)
E Austin,Larry Quadrants:Events/Complex Number Three for violin,
1972
"Daisy,"and 4-channeltape
Score: BowdoinCollege Press;Brunswick,Maine (1975)
S Badings,Henk Capriccio for Violin and Two Sound Tracks
Score: Donemus Disc: Epic LC-3759 and Epic BC-1118 (1959)
O Barlow,Wayne Soundscapesfor orchestraand tape
Score: AmericanMusic Center, N.Y.

1972

1952

554

Bayle,Francois

Archipelfor string quartet and tape

1963

E Bayle,Francois Vapeur for bass clarinet,string bass, harp, and cymbals

1962
(combined on tape)
Disc: Boite a MusiqueLD-072
E Becker,Giinther Rigolo for voice, flute, clarinet,violin, cello, piano and tape
Score: MusikverlageHans Gerig, Rhein,Germany (MCA Music, N.Y.)
E Berio,Luciano Differencesfor flute, clarinet,harp, viola, cello, and tape
recorder 1958-1960
Score: UniversalEditions,N.Y. Disc: Philips839.323 DSY; Time S/8002
Q Bester,Charles Twelve Short Movements for String Quartet and
1976
tape
Score: AmericanMusic Center, N.Y.
D Bester,Charles Variationsfor violin and piano duo with electronic
synthesizer 1973
Score: AmericanMusic Center, N.Y.
S Biggs,John
Manuscriptonly

Inventionfor viola and tape

1972

E Birtwistle,Harrison Medusa for mixed ensemble and tape

Score: Universal Editions,N.Y.
Axel
Q Borup-Jorgensen,
and tape recorder
Score: Dansk (Peters N.Y.)

Torso, Op. 54

Conformationsfor string quartet

S Bottje,Will Gay Concert Piece for violin and tape

Score: Composers FacsimileEdition,N.Y.

1968

S Boyer IllusionsI for cello and computer

Disc: Redwood,N.Y. ES-10 "ComputerMusic from Colgate, Vol. I"
Q Bozic, Darijan Pop Art II for string quartet and tape
Score: EdicijeDrustva SlovenskihSkladateljev;Ljubljana,Yugoslavia
D Bress,Hyman Fantasyfor violin, piano and electronic sounds
Disc: FolkwaysFM 3355, "The Violin"Vol. 5

1961

555

E Brown,Earle Times Five for flute, trombone, harp, violin, cello and
1963
tape
Score: UniversalEditionsUE 15385 Disc: Bodtea MusiqueLD-072
EP Brin, Herbert SonoriferousLoops for flute, trumpet, double bass,
percussionand tape (computer generated) 1964
Score: University of Illinois
EP Brun,Herbert Non-SequiturVI for flute, cello, harp, piano, two percussion
and tape (computer generated) 1966
Score: University of Illinois
SM Buchla,Donald
1980

Silicon Cello for the 300 Series ElectricMusic Box and cello

E Burge,David Aeolian Music for flute, clarinet,violin, cello, piano and tape
Score: BowdoinCollege Music Press;Brunswick,Maine
SM Cage, John FontanaMix for any instrumentand tape
Score: Peters P6712 Disc: TurnaboutTV-340465

1958

QM Chadabe,Joel Soft Edges for string quartet and electronic modifying

devices 1974
Live performancetape of the Concord String Quartet, SUNY at Albany,N.Y.
SM Chadabe,Joel Echoes for violin and tape
Score: Composers EditionSUNY at Albany, N.Y.
SM Chihara,Paul Logs XVI for double bass and synthesizer
Score: Peters P66364 Disc: CRI 269 SD
SM Chihara,Paul Logs XVI for double bass and pre-recordedbass
Score: Peters P66364 Disc: CRISD 269
S Cope, David Angel's Camp II for violin and tape
Score: SeeSaw PressN.Y.
QM Crumb, George
1970
Quartet
Score: Peters P66304

BlackAngels (Images I) for ElectricString

Disc: CRI SD-283

EM Crumb, George Night of the Four Moons for alto, alto flute, banjo,electric
cello, and 1 percussion 1969
Score: Peters P66462 Disc: ColumbiaM-32739

556

EM Crumb, George Songs, Drones and Refrainsof Death for baritone,electric

guitar, electric contrabass,electric piano/harpsichord,and two percussionists
1968
Score: Peters P66463
DM Crumb, George Vox Balanaefor Three Masked Players-electric flute,
electric cello, and electric piano 1971
Score: Peters P66466 Disc: ColumbiaM-32739
DP Cuomo, James Zetos 1 through Zetos 5 (Zetos 1 for trumpet, violin, cello,
and trombone. Zetos 3 for five double basses and tape subtitled"A Garden of
GlissandiFlowers") 1967
Score: University of Illinois
S

Custer, Arthur

S
Custer, Arthur
Disc: Serenus 12045

N.Y.
S Custer, Arthur
Disc: Serenus 12045

InterfaceI for violin and tape

1969

Found Objects No. 3 for double bass and tape

Score: General Music PublishingCo., Hastings-on-Hudson,
Found Objects No. 8 for violin and tape

E Davidovsky,Mario SynchronismNo. 2 for flute, clarinet,violin, cello, and

1964-65
tape
Score: McGinnisand Marx Disc: CRI SD-204
S Davidovsky,Mario SynchronismNo. 3 for cello and tape
Score: McGinnisand Marx Disc: CRI SD-204
T Drew, James The Maze Maker for cello and tape
Score: Theodore Presser,BrynMawr, PA.

1964-65

1977

S Druckman,Jacob Synapse (for tape alone) Valentine (for double bass

1971
solo)
Score: MCA Music, N.Y. Disc: Nonesuch H-71253
QM Druckman,Jacob ExperimentalString Quartet No. 2 1974
Unpublishedlive rehearsaltape of the Concord String Quartet
S Eisma,Will
1969
tape

Strippedof Outer String Quotes for violin solo and 4-track

D Erb,Donald In No Strange Landfor trombone, string bass and tape

Disc: Nonesuch 71223

1968

557

EM Erb, Donald Reconnaissancefor Moog, violin, piano, string bass and

percussion 1967
Disc: Nonesuch 71223
ST Erickson,Robert Ricercara 3 for two pre-recordedstring bass tracks and
performer 1967
Score: University of CaliforniaPress,Los Angeles Disc: Ars Nova AN 1001
S

Erlih,Devy

Violstriesfor violin and tape

1963-64

E Felciano,Richard Crasisfor flute, clarinet,violin, cello, harp, piano,

percussionand electronic sounds 1975
Disc: CRI SD-349
E Felciano,Richard Chod for violin, cello, bass, piano, percussionand
electronic sounds 1976
Disc: CRI SD-349
E Fennelly,Brian Evanescencesfor alto flute, clarinet,violin, cello and tape
Score: Composers FacsimileEdition,N.Y.
ET Finney,Ross Lee
recorder
Score: Peters P66095

Three Pieces for percussion,celeste, stringsand tape

Partitafor Viola, Contact Microphone,Recorder,and

SM Fritsch,JohannesG.
Filter
Score: EditionModern; Munich, Germany
E Fulkerson,James Co-ordinativeSystems No. 4 for chamber ensemble (cello,
contrabass,3 percussion,clarinet,bass clarinet, flute, trombone and electronics)
1973
Score: EditionModern; Munich, Germany
S Fulkerson,James Chamber Musics VIIIfor viola and pre-recordedtape
1976
Score: AmericanMusic Center
S Furrer,Franz Details IV for cello and tape
Score: EditionModern; Munich, Germany
E Gaburo, Kenneth AntiphonyIV for voice, piccolo, bass trombone, double
bass and electronics 1967
Disc: Nonesuch H-71199

558

D Gazelle, Didier Tijdsverzwartingfor flute, cello, and tape

Tape: Rijksuniversiteit;Ghent, Belgium

1966

S
Ghent, Emmanuel Divertimento for electronic violin and computer brass
1973
Score: AmericanMusic Center, N.Y. and PersimmonPress,N.Y.
S
Glasow, Glen
Disc: Desto 7144

Rakkafor electronicallyprocessed sounds and violin

DP Globokar,Vinko

Koexistenz Pour Deux Violoncelles

1973

1976

DM Goethals, Lucien Cellotape for piano, cello, contact mike, and side band
modulator 1965
Disc: Ministerede L'EducationNationale et de la Culture; Bruxelles,Belgium
D Grosskopf,Erhard Dialectics for violin, viola, double bass, and tape
Score: Moeck Verlag (BelwinMills)
SM Guy, Barry
England)

Statements II for solo amplifieddouble bass (recorded in

S
Hannay, Roger Elegy for viola and tape
Score: Media Press 3809
DM Harbison,John BermudaTrianglefor tenor sax, amplifiedcello and electric
organ
Score: AmericanComposers Alliance (BMI) Disc: CRI 313 SD
D Healey, Derek Stinging for treble recorder, cello, harpsichord,and
1971
magnetic tape
Score: AmericanMusic Center, N.Y.
S Heller, Kenneth Labyrinthfor cello and tape
Disc: Orion ORS-7021

1969

SO Henze, Hans Werner Violin Concerto No. 2 for violin, orchestra and tape
1971
Disc: Decca Headline HEAD 5
S Heussenstamm,George
Score: SeeSaw Press,N.Y.

Pentaloguefor double bass and four-tracktape

559

EP Hiller, Lejaren AlgorithmsI for flute, clarinet,bassoon, trumpet, violin,

1968
cello, double bass, harp, percussionand tape
Score: Theodore PresserCo.; BrynMawr, PA.
Disc: Deutsche GrammophonDGG 2543-005
EP Hiller, Lejarenand Baker,Robert Computer Cantata for soprano,chamber
ensemble (includingtheremin, violin and viola) and tape
Score: Theodore Presser Disc: CRI 310 SD
QP Hiller, Lejarenand Isaacson,Leonard
Disc: Heliodor H/25053

IlliacSuite for String Quartet

1957

ST Hodkinson,Sydney One Man's Meat for solo double bass and performerrecorded sound track 1970
Score: Merion Music; BrynMawr, PA.
O Hovhaness,Alan
orchestra and tape
Score: Peters P66322
E Hudson,Joseph
Disc: CRI 382 SD
EM Ichiyanagi,Toshi
Score: Peters P66143c

And God Created Great Whales Op. 229 No. 1 for

Sonare for violin, flute, clarinet, piano, percussionand tape

Activities for electronic ensemble and orchestra

OM Ichiyanagi,Toshi Life Music for orchestra,tape and effects

Score: Peters P6873 Disc: SJV 1501 "OrchestralSpace 1"
SM Ichiyanagi,Toshi Music for Strings No. 2, with Stanzas for violin and one
cartridge violin with amplification 1966
S Ivey,Jean Eichelberger Aldebaranfor viola and 2-channeltape
Score: AmericanMusic Center and Fisher(1974)

1972

E Janson,Alfred Canon for chamber orchestra and tape

Disc: LimelightLS-86061
ST Johnston,Ben Casta Bertramfor contrabass,typewriter and tape recorders
1969
Disc: Nonesuch H-71237
D Kagel, Maurice Match for Three Players(two cellos, percussionand tape)
Score: UniversalEditions,N.Y.

560

DM Karlins,M. William Variationson "Obiter Dictum" for amplifiedcello,

piano and percussion
Score: AmericanComposers Alliance (BMI) Disc: CRI 329 SD
S Keane,David Roger Study No. 1 for double bassand tape recorder
Score: ColumbusStudio at Ohio State University
S
Keane, David Roger Elegy for double bass and tape recorder
Score: AmericanMusic Center, N.Y.

1963

1979

SM Kessler,Thomas Violin Control for violin and electronic modifyingdevices

1975
Disc: GRM AM 821.10 France
1967
Q Kirchner,Leon ElectricString Quartet No. 3
Score: AssociatedMusic Publishers Disc: ColumbiaMS 7284
EP Koch, Frederick 5/9 five pieces for nine players (flute, clarinet,trumpet,
violin, viola, cello, bass, percussion,electric and standardpiano), tape and reader
1977
Score: AmericanMusic Center, N.Y.
E Kraft,Leo Dialectica for flute, clarinet,violin, cello and tape
Score: AmericanMusic Center, N.Y.
D Krenek,Ernst Duo for flute, contrabass,and tape
Score: Universal Edition(Presser);BrynMawr, PA.

1971

SO Kupferman,Meyer Concerto for Cello, Tape, and Orchestra

Score: AmericanMusic Center, N.Y.
S Lazarof,Henri Cadence II for viola and tape
Score: Bote and Bock (AssociatedMusic Publishers)

1974

1969

ST Lentz, Daniel ABM (Anti-BassMusic) for contrabass,actor-speaker,offstage piano, various media effects and tape
Q Lewis,Peter Tod Signs and Circuits:String Quartet No. 2 with tape
Disc: CRI 392 SD
Score: Composers FacsimileEdition,N.Y.

1969

SM Lloyd, Gerald

1963

Satellitesfor electric violin (amplifiedviolin) and tape

SM Lockwood,Annea
1976

Deep Dream Dive for amplifiedstring instrument

561

S Luening,Otto
Gargoyles for violin and tape
Score: Peters P66002 Disc: ColumbiaMS 6566

1964

O Luening,Otto
Synthesisfor orchestra and tape
Score: Peters P66003 Disc: CRI S-219

1962

O Luening,Otto and VladimirUssachevsky

and tape
1960
Score: Peters P66010 Disc: CRI S-227

Concerted Piece for orchestra

O Luening,Otto and VladimirUssachevsky

orchestraand tape
1954
Score: Peters P66005 Disc: CRI-112

A Poem of Cycles and Bellsfor

O Luening,Otto and VladimirUssachevsky

orchestraand tape
1953-54
Score: Peters P66006 Disc: Louisville545-5

RhapsodicVariationsfor

Q Lunetta,Stanley Wringer for two double basses,two cellos and tape

Score: Composers/PerformerEdition;Tampa,FL.
O Malec, Ivo Tutti for orchestra and tape
Disc: Philips836 894 DSY
S

Maxfield,Richard

S Maxfield,Richard
1961

1962

Perspectivesfor violin and tape

1960

PerspectivesII for La Monte Young for violin and tape

S McLean, Barton DimensionsI for solo violin and tape

Score: Composer'scopy at the University of Texas, Austin

1974

Q Miereanu,Costin Couleurs du Temps, second version for two violins,viola,

cello and tape
Score: EditionsSalabert,N.Y.
S Mimaroglu,Ilhan Music plus One for violin and tape
1970
Score: Okra Music Corp., N.Y
Disc: TurnaboutTV-S 34429
D Mimaroglu,Ilhan La Ruche for cello, harpsichord,piano and tape
Disc: FolkwaysFTQ 33951

1976

O Mimaroglu,Ilhan Sing Me a Song of Songmy for jazz quintet, reciters,

1971
chorus, string orchestra,organ and tape
Score: Composers/PerformerEdition;Tampa,FL.

562

SM Neubert, David Moby Bassfor double bass, echoplex, and tape

Tape: Composer'scopy at Wichita State University; Wichita, KA.
Disc: Crest DN3281

1975

ST Neubert, David Concert for Double Bassand Two Tape Recorders

Tape: Composer'scopy at Wichita State University; Wichita, KA.

1977

SM Neubert, David Peacock Feathersfor double bass, echoplex and tape

1979
Tape: Composer'scopy at Wichita State University; Wichita, KA.
S Neubert, David Sound Design for double bass and synclavier
Tape: Composer'scopy at Wichita State University; Wichita, KA.

1980

E Nguyen-Thien-Dao Tuyen Lua for two violins,viola, cello, flute, piano,

percussionand tape
Score: EditionsSalabert,N.Y.
O Nono, Luigi Per BastianaTai-YangCheng for orchestra and tape
Score: Ricordi Disc: Wergo 60067
O Nordheim, Arne Epitaffiofor Orchestra and Tape
Disc: LimelightLS-86061 and Philips839 250 AY (1963)

1961

S
Oakes, Rodney Hyporchema for violin and preparedtape
Score: AmericanMusic Center, N.Y.
SM Pade, ElsaMarie
1960

1967

1979

Afsnit I, II, IIIfor solo violin and three loudspeakers

ON Penderecki,Krzysztof Threnody to the Victims of Hiroshima

Score: Belwin-MillsBSS 42 800

1961

ST Peck, Russell Time Being for solo violin with tape, or three violins
Score: AmericanMusic Center, N.Y
Disc: ColumbiaMS-7265
S Perera,Ronald Reflex for viola and electronic tape
Score: E.C. Schirmerand AmericanMusic Center, N.Y.

1970

1976

S Pfeiffer,John Reflectionsof a String for Contraformer(and pre-recorded

violin) 1974
Disc: Victor VICS-1371
D Pinkham,Daniel Musette for violin, cello and tape
Score: Ione Press,Boston

1972

563

S Randall,J.K. Lyric Variationsfor Violin and Computer

Disc: VanguardC-10057

1968

Violin Phase for violin and tape recorder 1967

ST Reich,Steve
Score: UniversalEditionsUE 16185 Disc: ColumbiaMS-7265
EM Reynolds,Roger
... Between... for strings,percussion,piano, and
electronics (ring modulator,sound distributiondevice, and function generator)
Score: Peters P66248
D Reynolds,Roger Traces for piano solo, flute, cello, and three tapes
(6 channelsof taped sound) 1969
Score: Peters P66247 Disc: CRI SD-285
S Rinehart,John Pathsfor amplifiedcello and synthesizedsounds
Score: AmericanMusic Center, N.Y.

1979

D Rinehart,John Inlaidfor violin, cello, piano, and synthesizedsound

Score: AmericanMusic Center, N.Y.
D Rovics, Howard Piece for Cello, Pianoand ElectronicTape
Score: AmericanComposers Alliance(BMI) Disc: CRI 392 SD
S Sahl, Michael A Mitzvah for the Dead for violin and tape
Disc: VanguardC-10057
S Santoro, Claudio Mutation V and VI for violin and tape
Score: JosephBoonin,Inc., NJ
S Saperstein,David Compositionfor violin and tape
Score: Composers FacsimileEdition,N.Y.

1967
1973

1968

D Schwartz, Elliot Fantasyfor flute, double bass, and tape

Disc: Advance FGR-7
DT Sigurbj6rnsson,Thorkell
instrumentson tape
Score: Islenzk
S

Snow, Mary Helen

Vixl for violin, clarinet,cello and the same

Mandorafor solo violin and tape

SM Souster, Tim Spectral for viola and electronics

Disc: TransatlanticTRAG 343

1972

1968

1978

564

EM Stockhausen,Karlheinz Prozessionfor tam tam, viola, elektronium,piano

filters,and potentiometers 1967
Score: UniversalEditionsUE 14812 Disc: Candide 31001
ST Stockhausen,Karlheinz Solo for performer(any instrument),four technical
assistants,and tape recorders 1965-66
Score: UniversalEditionsUE 14261
DM Stockhausen,Karlheinz Opus 1970 for piano, electric viola, electronium,
tam tam and tape
1969
Disc: Deutsche GrammophonDGG 139461
O Stockhausen,Karlheinz Mixtur for orchestra and electronics
Score: Universal Disc: DGG 137 012 and DGG ST 643 546
O Stockhausen,Karlheinz
Disc: DGG 2530 726

Trans for orchestra and electronics

1964
1971

EM Strange, Allen Star Salon Strikersand Slider'sLast Witness for amplified

string trio and percussion 1974
Tape: Composer'sStudio, Los Gatos, CA.
DM Strange, Allen Switchcraftfor amplifieddouble bass, flute, and engineer
1970
Tape: Composer'sStudio, Los Gatos, CA.
E Subotnik,Morton Laminationsfor large, mixed ensemble and tape
1970
Score: BowdoinCollege Music Press;Brunswick,ME (MCA Music No. 15428Disc: TurnaboutTV-S 34444 28
04444)
D Sydeman,William Maledictionfor tenor, string quartet and tape
Score: Okra Music Corp., N.Y.
SM Sydeman,William Projections1 for amplifiedviolin and tape
Score: Okra Music Corp, N.Y.
S

Szathmary,Z.

Con-tact-versationsfor violin and tape

1973

EM Takahashi,Yuji BridgesI for electric harpsichord,amplifiedcello, bass drum,

and castanets
Score: Peters P66234
SM Takahashi,Yuji Rosace I for amplifiedviolin
Score: Peters P66239

565

QP Tenney,James Stochastic String Quartet

Score: University of Illinois
S

Thienen, Marcel van

1963

De Profundisfor violin and tape

1957

S Thome, Diane AlexanderBoscovitchRememberedfor viola, piano,and tape

1975
Score: AmericanMusic Center, N.Y.
O Varese, Edgard Deserts for orchestraand tape
1949-54
Score: Colombo NY-1794 Disc: ColumbiaMS-6362 and CRI S-268
O Varese, Edgard Ecuatorialfor bass and orchestra(with two ondes
martenots) 1934
Score: Columbo Disc: Nonesuch H 71269 and VanguardVCS 10047
S Vega, Aurelio de la
Disc: Orion 73128
S Vercoe, Barry
Disc: CRI 393

Tangents for violin and tape

1973

Synapse for Viola and Computer

1976

O Watts, John Keepsakesfor tape and orchestra

Score: AmericanMusic Center, N.Y.

1978

O Wehding, Hans-Hendrik Concertino for electronic sounds,string orchestra

and tape recorder 1963
Disc: Eterna(Berlin,DDR) "ExperimentalMusik 1 (1963/64)"
S

White, Gary

Centrum for violin and tape

1971

S Whittenberg,Charles ElectronicStudy No. 2 with contrabass

Score: AssociatedMusic Publishers,N.Y. Disc: Advance FGR-1
O Wright, Maurice Stellae new music for orchestraand electronic sound
1978
Score: AmericanMusic Center, N.Y.
SM Wuorinen,Charles
Score: Peters P66511

Concerto for AmplifiedViolin and Orchestra

O Wuorinen, Charles
tape
Score: Peters P66388

Orchestral and ElectronicExchangesfor orchestra and

566

QP Xenakis,Yannis

ST/4-1,080262 for string quartet

DP Xenakis,Yannis
1962

Morsima-Amorsimafor piano, violin, cello and double bass

1962

D Zupko, Ramon Fixationsfor violin, cello, piano and tape

Score: Peters P66748 Disc: CRI SD-375

1974

This article was the result of a grant from the National Endowment for the
Humanities(NEH SummerSeminaron "Musicand Technology"under the direction
of Jon Appleton--Dartmouth College, 1980).