Daphne Oram - Electronic Sound Patterns 10" LP (Trunk) - Radiophonic Workshop
  £   15
  $   20

 


£ 15 Sold For
Sep 3, 2016 Sold Date
Aug 25, 2016 Start Date
1 Number Of Bids
  Great Britain Country Of Seller
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Description

Electronic Sound Patterns 
Composed and created by Daphne Oram

Electronic Movements
Music by Tom Dissevelt, produced by Tom Dissevelt and Kid Baltan

TRACKLISTING

Side One 
Electronic Sound Patterns

1) – 3)  Melodic Group Shapes
4) – 7) Three Single Sounds Taken In Canon
8) Rhythmic Variations 1) 
9) Rhythmic Variations 2)
10) – 18) Ascending and Descending Sequences of Varying Nature

Side Two 
Electronic Movements
1) Syncopation
2) Vibration
3) Whirling
4) Drifting

All the music on this release is over fifty years old. And none of it has been released on vinyl since the original British pressings back in 1962. It’s all worth listening to again I reckon.

On Side One is Daphne Oram’s first complete commercial recording and was released as part of Vera Gray’s Listen, Move And Dance series. Basically this was music made for school children to throw shapes and improvise along to during drama and creative lessons. It was Vera’s hope that these new and exciting sounds would lead the children into some “imaginative situations”. In recent years I have played this music to willing young students at festivals and old village halls and the results have been both bizarre and fascinating. You do need a good dance teacher though, not just a record player and a hall full of children in plimsoles with non-marking soles.

Side Two represents and whole different country of electronic creativity, with the exceptional sounds of Dutch electronic pioneer Tom Dissevelt. A multi-instrumentalist and jazzman, Dissevelt was invited to work at the legendary Natlab (Philips Physics Laboratory) studios. There he spent time working alongside composer and theorist Dick Raaijmakers (AKA Kid Baltan) producing new electronic sounds and interpretations of popular music. This four track sampler was issued at the same time as the Oram work and its comprehensive sleevenotes hinted at the music being “attractive”, “dizzy” and “mysterious”. 


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