{"id":133937,"date":"2023-06-13T17:59:21","date_gmt":"2023-06-13T16:59:21","guid":{"rendered":"https:\/\/centmagazine.co.uk\/?p=133937"},"modified":"2023-06-13T17:59:23","modified_gmt":"2023-06-13T16:59:23","slug":"remixing-genre","status":"publish","type":"post","link":"https:\/\/staging.centmagazine.co.uk\/?p=133937","title":{"rendered":"Remixing Genre"},"content":{"rendered":"\n

What do you think of when classical music is mentioned and what comes to mind when you consider electronic music? It may be that you make rather specific associations. Maybe neither interest you at all; you think you’ve made up your mind. Perhaps classical is the background noise of stuffy intellectual types’ studies or well-to-do crowds sitting intently in front of an orchestra seeming ever so cultured and highbrow. These stereotypes don’t exist for no reason but they are certainly not a reflection of classical music’s wider appeal. Similarly, one’s view of electronic music may be rather blinkered. Maybe it’s images of rave-goers, jaws swinging and pupils dilated. Or not dissimilar festival attendees, hyped up on warm beer and bass so heavy you feel it rattle your bones. Again, these images spring to mind for good reason but don’t truly reflect electronic music on the whole. These genres may seem disparate at a glance but look further and you’ll see this isn’t always the case. Find out more here in Remixing Genre<\/em>.<\/p>\n\n\n\n

Image on the left by Josep Molina Secall<\/p>\n\n\n\n

Nobody would blame you for thinking of electronic music as an innovation of the late 20th century but, in reality, as far back as the 1940s the traditional hardware of classical instruments has been combined with electronic innovation with Daphne Oram’s composition Still Point, which was recorded live, being credited by many as the first to combine acoustic orchestration with live electronic manipulation. <\/p>\n\n\n\n

Oram began her career as a junior studio engineer for the BBC in 1942. It is in this environment that she began experimenting with tape recorders and the notion of ‘synthetic sound’ and, in the aftermath of Still Point’s composition, would be promoted. From this success, she and fellow composer and electronic musician Desmond Briscoe would create the deeply influential and innovative BBC Radiophonic Workshop in 1958. <\/p>\n\n\n\n

It is worth noting the significance of her position as a woman in the 1940s and 1950s and the level of rarity for a woman to be permitted to make such breakthroughs and innovations without the responsibility and credit instead being handed to a man. <\/p>\n\n\n\n

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