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About The Battalion. (College Station, Tex.) 1893-current | View Entire Issue (June 19, 1974)
■ Page 8 Batt review THE BATTALION WEDNESDAY. JUNE 19, 4974 ‘Phaedra revives electronic music By JAMES RAW SON Electronic music has progressed a long way over the past decade. Two of the earliest compositions for electronic media, “The Wild Bull’’ and “Silver Apples of the Moon,” by Morton Subotnick, were acclaimed as breakthroughs in the realm of music. Each composition covers an album and each is more mood than music. The works depend on an ex tremely sensitive and subtle series of sounds and associated feelings to convey a message that is felt rather than understood directly and can be interpreted as one wishes. Since the time of Subotnick we have witnessed the advent of the Moog synthesizer which performs classical, rock or blues music with ease and grace. Today, few groups write or perform without a Moog, an ARP, or a Melloton synthesizer Somewhere in the background. And yet this is not true electronic music; it only copies the tones of conven tional instruments or provides a half-hidden accompaniment for the guitars and drums. Synthesized sound has not been explored on its own as a musical medium except in a limited way until now. The resurection of this musical form has arrived in the person of a new English group called “Tangerine Dream” whose first album is “Phaedra.” The record contains four compositions: “Phaedra,” “Mysterious Semblance at the Strand of Nightmares,” “Movements of a Visionary,” and “Sequent C.” “Phaedra” is the album’s major effort, covering one side. Whether the music is based on the ancient Greek legends of the labyrinth, the bull-man minotaur, and the Greek youth who escaped him to marry Phaedra is open to speculation. In some ways it is reminiscent of “The Wild Bull” in concept and style, but is better developed. Majestic open ing tones lead the listener into a progression of sounds based around a central theme that increases tempo almost imperceptibly to a climax two-thirds through. The sound switches here from cold ab stract tones to near-human “voices” that seem expressive of perhaps sor row, perhaps pain, perhaps joy; who can tell? Slowly they die to leave a very light impression of children playing as a finish, an epilogue, a benediction. “Mysterious Semblance at the Strand of Nightmares” is my favo rite of the four. It is a dreamlike piece centered on a vague song played on a far-away organ. Over lapping the song are sounds re sembling the sea, quiet and peace- fiil. But before the piece becomes so peaceful as to be boring, it switches moods with winds and more agi tated tones dominating the original which re-emerges in the end. 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' renC | The most dynamic piece 11 is “Movements of a Visionary."|| fr eseil filled with abrupt tone changes) exas sounds that give the impression i on ^^ things running about andcolUj in space. It has a slightly sinis acl ^ 4 ^ tone which later smoothsintoai: steady, wavering organ solo,liaj ears ; ing and lonely like an emptyces irot ^ r standing on the edge of a cliff, 1 ma f? The last composition, “Serpu ‘ C,” is the shortest andtheoj 3ons ^ closest to conventional music,l ' mood here is delicate andpe*(j l0t res with some slightly disturbing^ Aon monies which suggest unrest.ff shion sound is llute-like withaslii salifti breeze sifting through themeloj ia ^ ultimately carrying it awayfn TAM hearing. A 1 ° Edgin' Froese, Chris Frank • idlity Peter Baumann make up Tanga )rt ^ e \ Dream. Their instrumentalAn f with a variety of synthesizersj ndbel conventional instrumentsissuper ^° 01 This group may soon replace Pi ir0 ^ e s! Floyd as the most innovative j ier0S P experimental English group. I ' ent ’, It is not the type of musk tint un ^ et easy to understand. Manypeoj y ei will find it boring; it is the type ^ or< sound one has to be in then; im ^ s ^ mood to listen to. Themusicisji ^ ts * n< right for relaxing in the sumij Jon ^ heat. leve,( Jl I for one am glad to see abstrj l £ nS- ' synthesized music makesuchag) ' c * ent comeback and find it refreshing ia ^l°f C climb out of the hog-wallow ff 1 .' Michael Murphy, Jerry Jeff\\al?E llie<M 1 and their kind have draggedca temporary music into to soar aba in the stars for a short while. eseiUC nanpo ipproai he TE "On fAMU lliat th< ieparti vork s< i The r announced vd esearc The Centennia coordinate ine fa< "hosen Roger P. Miller will serve coordinator for TAMU’s centenii ^ en| activities, announced Presifffl f^dua Jack K. Williams. S ineer TAMU, the state’s first publki ^ ans stitution of higher education,'!’ celebrate its hundredth annivers in 1976, and Dr. Williams saidpi are being made for a major obs vance to cite the institution’s reed of service and plans for the hit® Miller, a 1972 TAMU gradual! has been a staff assistant to Dr. Wi liams the past year and willcontin# to serve in that capacity in conjimt tion with his new responsibilife He was previously editor of ill Hamilton Herald-News and earta in his career was a staff assistant! Congressman W. R. Poage. Miller, who majored in jot! nalism, was vice president of til TAMU student body in 1970-71 In his new position, which isd fective July 1, Miller will wod closely with a facidty-staff-studeil alumni committee which begd planning last year for the TAMi centennial. Bill wrong! Mutilate it “If you receive an incorret computer calculated bill, shredit Lillian Cochran, home managa ment specialist with the TAw Texas Agricultural Extension vice said. “Place the shredded bill—alo 1 with a note of explanation—in» envelope, and mail it to the con pany. This requires personi attention—whereas just a hand written note might be ignored. “The main point is to mutilatetli bill in such a way that the compn te is forced to take action, ” she said Ecc San /upTnamb) in? Eddie Dominguez 'Mj Joe Arciniega '74' [MTMltl im [Ml If you want the real thing, not frozen or canned . . . We call It "Mexican Food Supreme.” Two Dallas locations: 3071 Northwest Hwy. 352-8570 2131 Ft. Worth Ave. 946-0645