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Sisters with Transistors (2021) is a documentary that shines a spotlight on the pioneering women who helped shape the world of electronic music. Through rare archival footage, interviews, and powerful storytelling, the film explores the creativity, innovation, and influence of these trailblazing artists. It’s a celebration of music history, technology, and the voices that redefined sound for generations to come.
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Sisters with Transistors, Sisters with Transistors 2021, Sisters with Transistors movie, Sisters with Transistors full movie, Sisters with Transistors film, Sisters with Transistors trailer, electronic music documentary, women in music history, music innovation documentary, trailblazing women artists, electronic sound pioneers, music technology film, inspiring music documentary 2021, archival music documentary, Sisters with Transistors cast, Sisters with Transistors scenes, groundbreaking music documentary, women shaping sound, music history documentary
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Art et designTranscription
00:05:09Sous-titrage Société Radio-Canada
00:05:39I do very much what the diver would do. I just have to take a chance, and here I am. See? A hair breath off, and I'm already on a different note.
00:06:07Dr. Ray, now we'll have fun. Now we'll have fun. Now, here, hold your hand over this.
00:06:14It's a fallacy to think that the instrument is easy to play. You know, it is much more difficult than the violin. I was a concert violinist before I played this.
00:06:31As young girls, both my sister and I gave joint concerts, playing the violin and the piano, all over Russia, then all over Europe. We played our way to America.
00:06:53All over Russia, then all over Europe, we played our way to America.
00:06:57I met Professor Termin when he came to America to demonstrate the instrument. I was fascinated by the aesthetic part of the instrument, the beauty and the idea of playing completely without touching anything.
00:07:07I met Professor Termin when he came to America to demonstrate the instrument. I was fascinated by the aesthetic part of the instrument, the beauty and the idea of playing completely without touching anything.
00:07:21Michele also loved the sound of it. Professor Termin became a great friend and admirer. And we really worked on this particular instrument together. I was making my musical wishes known to him. And he, being the genius that he was, made it work.
00:07:40When we played the Mardini concerto, we played the whole Cesar Franc sonata, which was at that time rather a great surprise because the sermon was associated with just little melodies.
00:07:59Suddenly you get someone who's a total virtuoso and able to make it sound in a way that it had never sounded before.
00:08:29You cannot play air with hammers, Clara would say. You'd have to play with butterfly wings.
00:08:44...
00:08:46...
00:09:14Sous-titrage Société Radio-Canada
00:09:44The first stage in the realization of a piece of music is to construct the individual sounds that we're going to use. To do this, we can, if we like, go to these sound generators here, electronic generators.
00:10:14And we'll listen to three of the basic electronic sounds. First, there's the simplest sound of all, which is a sine wave.
00:10:20This is here on the oscilloscope. It has a very simple form and has a very pure sound.
00:10:26Now we listen to the same note but with a different quality. This is a square wave.
00:10:30See, it's very square on the picture and perhaps rather harsh to listen to. This is because it has a lot of high harmonics and that's what gives the corners on the picture.
00:10:42A more complex sound still is white noise.
00:10:50We don't always go to electronic sound generators for our basic sources of sound.
00:10:54If the sound we want exists already in real life, say, we can go and record it.
00:11:00But those basic sounds aren't really interesting in their raw state like this. To make them a value for a musical piece, we have to shape them and mould them.
00:11:14We can get the lower sounds we need from the rhythm by slowing down the tape.
00:11:21And the higher sounds by speeding up the tape.
00:11:25And then all we have to do is cut the notes to the right length.
00:11:29We can join them together on a loop and listen to them.
00:11:32And then with the higher notes of the rhythm.
00:11:35And then with the higher notes of the rhythm, again we join them together on a loop and play it in synchronisation with the first aid.
00:11:51And over this we can play...
00:11:52Using all of these we can build up any sound we can possibly imagine.
00:12:16We spend quite a lot of time trying to invent new sounds.
00:12:18I mean sounds that don't exist already, sounds that can't be produced by musical instruments.
00:12:29The radio, the radio, the radio was the most important thing in my life.
00:12:34You know, there weren't books.
00:12:36The radio was my education.
00:12:38I was accepted by both Oxford and Cambridge to read mathematics.
00:12:49Which is quite something for a working class girl in the 50s.
00:12:54Where only one in ten were female.
00:12:57Delia was a brilliant mathematician.
00:13:02She was fascinated by the inner composition of a sound and then she could reach into it and decide what part of that sound she wanted to use.
00:13:11I was in Coventry during the blimp.
00:13:26That was such an influence on me.
00:13:28It's come to me that my love for abstract sounds were sounds of the air raid siren.
00:13:42Because that's the sound you hear.
00:13:46And you don't know the source of it.
00:13:48It's a young task.
00:13:50It's an abstract sound.
00:13:52And it's meaningful.
00:13:54And then the all-clear...
00:13:56It works as of electronic music.
00:14:02It works as of electronic music.
00:14:27World War II emptied cities of men.
00:14:33And in the absence of men, women worked.
00:14:38Freedom was more than a feeling.
00:14:45There isn't much glamour about this independence.
00:14:48Women at work are getting to look and behave more like men.
00:14:52It's not very attractive.
00:14:56It's not very attractive.
00:15:02Welcome to Tower Folly.
00:15:04This lonely host house on the north downs of Kent.
00:15:07Well, as far as I know, this house isn't haunted and there isn't a mad scientist in sight.
00:15:12This is, in fact, a music factory where they can literally make music out of electronic sounds.
00:15:18And the woman who makes it has just been awarded a grant by the Gulbenkian Foundation to help her research.
00:15:24She's here at her control box, Miss Daphne Oral.
00:15:29How did you get involved in this kind of work?
00:15:32Well, it dates back really to 1944, I think, when I read a book which prophesied that composers in the future would compose directly into sound instead of using orchestral instruments, you see.
00:15:42And, well, since then I've been working in BBC studios and so I've got some little grasp of this sort of equipment.
00:15:50And I was trained as a musician and then the two of us sort of clicked together, you see.
00:16:00Daphne was a very gifted pianist and she had secured a place for herself at the Royal Academy of Music, which she turned down because she was also very interested in technology and wanted to work at the BBC.
00:16:12I was asked to do some incidental music for television play.
00:16:22And I did this by getting together in the middle of the night all the tape recorders that I could find in studios, collecting them together in one studio and working until they had to be put back next morning.
00:16:37Sleeping a little bit and then coming back in to do my normal chamber music work.
00:16:42So then it grew from that. I was asked to help start the radiophonic workshop.
00:16:53Listen.
00:16:56Without Daphne, it would never have started because BBC did not want an electronic music studio.
00:17:03We were just using anything we could grab hold of.
00:17:06We have basic laboratory equipment and a pair of tape machines that have been liberated at the end of the war.
00:17:17Playwrights were writing in a surreal kind of style, which was a legacy of the war.
00:17:23The style required a different kind of sound.
00:17:26Bird or angel?
00:17:28This program is an experiment. We think it's worth broadcasting as a perfectly serious first attempt to find out whether we can convey a new kind of emotional and intellectual experience by means of what we call radiophonic effects.
00:17:44It's a sort of modern magic.
00:18:03Some musicians believe that it can become an art form complete in itself. Others are skeptical.
00:18:09In fact, we've decided not to use the word music at all.
00:18:13In despair.
00:18:20What began as a research trip to the Brussels World Fair became a fateful pilgrimage.
00:18:28There, Daphne hears an electronic composition fed through 350 speakers with synchronized projections.
00:18:35Electronic music was more than just incidental.
00:18:46It was the sound of the future.
00:18:54The radiophonic workshop was concentrating somewhat on the drama side and I wanted to concentrate on the music side.
00:19:01So I set up my own studio.
00:19:04She was a woman in the 1950s, set up her own independent electronic music studio. It's extraordinarily brave.
00:19:19Now, Miss Oram, how do you go about manufacturing this sort of sound?
00:19:22Well, let me introduce this little electronic generator here, which produces a sound like this.
00:19:31Now, I've made a little loop of tape here with varying pure tones on it.
00:19:37Now, if I then put a little artificial reverberation on that, I think you'll see we're just beginning to get somewhere, a little music.
00:19:44So I'm gonna love this little music.
00:19:45和歌 voice
00:19:47Well, I'm talking about this little music.
00:19:50Wow!
00:19:52The sound like this little music.
00:19:53The sound like this little music.
00:19:55The sound like this little music.
00:19:58The sound like this little music.
00:19:59C'est parti !
00:20:29What are you going to do with this three and a half thousand pounds that you've got ?
00:20:44Well, this is very exciting to me because I have ideas for a piece of electronic equipment, not quite like this.
00:20:51In this case, the composer, we're going to be able to feed in drawn symbols straight into the equipment,
00:20:57and out will come the science.
00:21:03I have a new technique completely, one that I've evolved over the years, which I call Oramix.
00:21:12And that is using graphic representation of sound.
00:21:18There seems to be no real notation system in electronic music.
00:21:23I wanted a system where I could graphically represent what I wanted,
00:21:29and give that representation, that musical score, in fact, to a machine and have from it the sound.
00:21:36This idea of drawn sound is a sound that comes from nowhere.
00:21:51It's a sound that is synthesized from nothing.
00:21:54But she's not the ghost in the machine. Her hands are all over it.
00:22:00The composer wants to project something of himself.
00:22:06The great works of art are a projection of a human mind.
00:22:10And unless this machine can accept and produce exactly this projection of the composer's thought,
00:22:16then I think it's just a machine, and I can quite see why people can get frightened at the thought.
00:22:22En France, à cette époque-là, la musique électronique était un petit peu diabolique encore.
00:22:48Mais la découverte de Pierre Scheper dans une des émissions qu'il proposait le matin au début des années 50, c'était la révélation.
00:23:06Ça a été mon chemin de Damas.
00:23:14J'habitais Nice, près de l'aéroport,
00:23:17et j'étais très intéressée par le bruit des avions.
00:23:26De discriminer le bruit des différents avions et de construire des musiques à l'intérieur de ça.
00:23:31Ma manière d'écouter les avions, c'était pas simplement une folie ou une vue de l'esprit.
00:23:46Tout l'univers sonore était susceptible de devenir un univers musical qui dépendait à la fois de la qualité d'écoute et de la manière dont on organisait une sorte de dialogue avec ce son, ce que Scheper appelait musique concrète.
00:24:04Pierre Scheper a dit qu'entre le bruit des musiques et la musique, il y avait la main du musicien.
00:24:13La rencontre avec Pierre Scheper pour moi était tout à fait extraordinaire.
00:24:23J'étais assistante dévouée.
00:24:27On me souvient un technicien une fois qui arrivait dans les studios en disant ce qu'il y a d'agréable d'avoir Eliane dans les studios, c'est que ça sent bon.
00:24:37Ce qui donnait tout à fait la mesure de l'appréciation qu'on avait.
00:24:45Je suis née dans un univers de macho.
00:24:49Ce que je voulais, c'était apprendre.
00:25:07Eliane rêvait d'un univers, impalpable music, peering et fading away like clouds in the blue summer sky.
00:25:21La fin des années 60, j'étais l'assistante de Pierre Henry.
00:25:51Ce n'est pas avec ces appareils que l'on fabrique des sons.
00:25:57Ces appareils sont faits pour les monter et les mélanger.
00:26:00Comme on ne pouvait pas travailler tous les deux ensemble dans le studio parce qu'il
00:26:05faut des écoutes, il avait installé chez moi deux tolanas.
00:26:10J'ai pu commencer à travailler chez moi.
00:26:12De temps en temps, je me ferais des petites choses.
00:26:21J'avais découvert les systèmes de feedback.
00:26:24En gardant la juste limite entre un haut-parleur et un micro, on pouvait très légèrement faire
00:26:32évoluer le son.
00:26:33J'appelais ça proposition sonore parce que je n'avais pas du tout envie de discuter
00:26:43avec qui que ce soit pour savoir si c'était de la musique ou pas.
00:26:46J'appelais ça.
00:26:55J'appelais ça.
00:26:58J'appelais ça.
00:27:07J'appelais ça.
00:27:10J'appelais ça.
00:27:20J'appelais ça.
00:27:23J'appelais ça.
00:27:41J'appelais ça.
00:27:45J'appelais ça.
00:27:47J'appelais ça.
00:27:49J'appelais ça.
00:28:07Louis' cousin brought us a tape recorder for a wedding present.
00:28:13I think we were the only ones in the country with that machine.
00:28:18We had all the artists in the village coming to us for recording work.
00:28:26I remember my first birth in water.
00:28:31I sway and float, stand on groundless toes,
00:28:36listening for distant sounds,
00:28:40sounds beyond the reach of human ears.
00:28:47We started a recording studio.
00:28:51We built almost all the equipment ourselves
00:28:54because there wasn't any to buy.
00:28:57The great American boy is hard at work,
00:28:59inventing, creating, building something.
00:29:02And the desire to build and create new things
00:29:07is the energy that develops industrious, dependable citizens of tomorrow.
00:29:13It was exciting because you were building these things
00:29:17and you're experimenting with the electronic media.
00:29:22Louis made sounds by overloading circuit boards,
00:29:25which Bibi then processed and manipulated to create music.
00:29:31To the writer Anais Nin,
00:29:33it sounded like a molecule had stubbed its toe.
00:29:39And we started working on avant-garde films.
00:29:43That's what this was all about,
00:29:45was the avant-garde.
00:29:46The sense of wonder and awe.
00:30:02The beauty coming from the circuits.
00:30:05I mean, we would just sit back and let them take over.
00:30:08These circuits are not instruments.
00:30:23They are performers.
00:30:27We would record everything that came out of the circuits.
00:30:31I spent hours and hours and hours listening to all that stuff.
00:30:36Oh, yeah.
00:30:37Well, later, you went through miles of tape.
00:30:40Yeah.
00:30:41Incredible.
00:30:42And she could hold it in memory.
00:30:45She could remember where to go for a certain feeling in the sound.
00:30:52Bibi had a formal musical education.
00:30:55She made most of the compositional decisions
00:30:58while Louis dealt more with the technical side of things.
00:31:02The Baron's greatest achievement
00:31:07was with the music for Forbidden Planet.
00:31:11It was the first movie with an all-electronic score.
00:31:18The pride and joy of that period
00:31:21was in coming up with the music for The Monster.
00:31:24We were just beside ourselves.
00:31:31Suddenly, this circuit started generating
00:31:34the most complex sounds.
00:31:39The dying of Morbius
00:31:42was the actual dying of the circuits.
00:31:46The dying of Morbius
00:32:16We would have a credit that said electronic music
00:32:21by Louie and Bibi Baron.
00:32:23But a memo was circulated among the executives.
00:32:26How would the American Federation of Musicians
00:32:29respond to a credit that says electronic music?
00:32:34The musicians' union
00:32:35would not allow the soundtrack
00:32:38to be considered music.
00:32:40They were afraid that someday their jobs
00:32:46would be replaced by machines
00:32:47and so they would have none of it.
00:32:51That's why it's credited as electronic tonalities.
00:32:59It was so awful.
00:33:01We were barely acknowledged as composers.
00:33:06We were barely acknowledged as composers.
00:33:06We were still
00:34:03Imagine what life must have been like before samplers, before synthesizers, before sequencers
00:34:09It took her 40 days to make the Doctor Who scene
00:34:1340 days
00:34:15She would sample the green lamp shade, speed it up, reverse it
00:34:24and just completely change the nature of the sound
00:34:33This was a documentary program about the Tuareg tribe
00:34:43The Tuareg tribe are nomads in the Sahara Desert
00:34:48In the piece I tried to convey the distance of the horizon and the heat haze
00:34:57The strand of camels wandering across the desert
00:35:02That in fact was made from square waves put through every filter I could possibly find
00:35:10There must be a God
00:35:31Oh yes
00:35:34Delia Derbyshire created some very, very beautiful things
00:35:45And some things that had a kind of very strange and unearthly quality
00:35:49That couldn't quite be got, I think, by normal musical means
00:35:52And yet didn't sound as if they were electronically manufactured
00:35:55Some of it was worked out mathematically
00:36:05I've tried to get into it a feeling of simplicity and loneliness
00:36:15Of a man on a moon
00:36:18That's one small step for man
00:36:31One giant leap for mankind
00:36:36She created a kind of pathway for electronic music
00:36:43I did all sorts of things I was told I couldn't do
00:36:47I think I've always been a very independent thinker
00:36:50While the work of women like Delia and Daphne
00:37:19Came from the deafening sounds of wartime
00:37:22It was the chilling silence of the Cold War
00:37:25That took others to the limits of listening
00:37:28The bomb scare psychology that was inculcated
00:37:35That had a big effect on the artists that were emerging at that time
00:37:40Everybody was pushing for opening things up
00:37:49A kind of way through all the terrible stuff that was going on in the world at the time
00:37:54So there was a lot of political motivation behind what we were doing
00:37:57The effect was to say, okay, we've got to break through anything that we're doing
00:38:10Anything that was rigid, anything that was limiting, and try to move things forward
00:38:15The music scene was evolving into an area that was very fresh and exciting
00:38:30The first time I heard live electronic music was early 60s
00:38:38Pauline was on stage with an accordion
00:38:42The room was exploding with sound of his ear splitting
00:38:45I had never experienced that kind of volume before
00:38:48I can't remember when I wasn't interested in sounds
00:39:06I remember particularly things like riding in the car with my parents, for instance
00:39:13Maybe in the back seat
00:39:15Listening to the sound of the motor
00:39:17And listening to the sound of my parents' voices being modulated by the motor
00:39:22Listening to my father tune his shortwave radio
00:39:29Listening to the whistles and pops and static
00:39:32I mean, I was always fascinated with the in-between sounds in the stations
00:39:37Just tuning in between
00:39:38I mean, I love that
00:39:39I credit my mother
00:39:44For my birthday, she sent me a tape recorder
00:39:48And that was a very significant event
00:39:51Because nobody had tape recorders
00:39:53You know, it was in the 50s
00:39:55I began to record, to feel recording from my apartment window
00:40:06And then, in 1959, got started making a tape piece
00:40:14Called Time Perspectives
00:40:16Tape recorder that I had
00:40:32It was possible to record by hand-winding the tape in record mode
00:40:37So that gave me a variable speed
00:40:39So I could do some interesting things with that
00:40:41And I used the bathtub for reverberation
00:40:49And cardboard tubes as filters
00:40:53I'd put microphones in the tube
00:40:55And then record sounds through the tube
00:40:57Eventually, I met up with a group of people
00:41:22Who were interested in new music
00:41:24Which led to the founding of the San Francisco Tape Music Center
00:41:30The San Francisco Tape Music Center
00:41:36Was not associated with an institution
00:41:38So it was friends
00:41:40Brought together what equipment they had
00:41:43To share
00:41:44Our sense of what we were doing at that point
00:41:50Was opening a place
00:41:52Where poets, painters, film
00:41:56And electronic or tape music
00:41:58Where all this stuff could be done
00:42:00It was a sense of individuality
00:42:04Nobody wanted to be like anyone else
00:42:06And everybody was very supportive
00:42:08Of what everybody else was doing
00:42:10My interest was always in live performance
00:42:18And I started to find out ways
00:42:20To use tape recorders
00:42:21And perform live with them
00:42:23And that was making a tape delay system
00:42:26Which allows me to maintain
00:42:28That physical contact with the sound
00:42:31To use tape recorders
00:42:32And a couple of people
00:42:34And these songs
00:42:36To use tape recorders
00:42:37And they possibly have movimiento
00:42:37And now when they drop out
00:42:38And they stillnehmer
00:42:39And they were really
00:42:42And these songs
00:42:43And their songs
00:42:44And they were really
00:42:45And they were just
00:42:46And independently
00:42:47And they was looking
00:42:48And they looked
00:42:49And they wanted to be
00:42:50And this was revealed
00:42:51And this was also
00:42:52And they were always
00:42:53The two playing aces
00:42:54And this was
00:42:56And that was
00:42:57The San Francisco Tape Music University
00:42:58And they saw
00:42:59And the reducts
00:43:00Sous-titrage Société Radio-Canada
00:43:30Pauline was conscious of the fact that she was different. She had a streak of a revolutionary in her.
00:43:51Pauline, it was hard. You know, she'd come out in the 50s, and here she was, a woman, gay,
00:43:58all-garve music. Each thing by itself would be hard, but she had three things that were hard,
00:44:05and women composers were not being performed, you know.
00:44:08You wrote an editorial to the New York Times once called Don't Call Them Lady Composers.
00:44:19Tell us about when you wrote that and why.
00:44:22I just wanted to be introduced as a composer.
00:44:25That caused me to use that title and to start to point out how hard it was for women to be
00:44:31taken seriously as creators of music.
00:45:01Go out walking at night.
00:45:07Tread so quietly the bottoms of your feet become ears.
00:45:14Working with an all-women ensemble, instructions like these were intended to encourage deep listening.
00:45:20I was alarmed, as many were, of course, with the Vietnam War.
00:45:42And I began to seek some ways of working with sound that I could discover more of a kind of inner peace.
00:45:51I found myself listening to long sounds and becoming more interested in what the sounds did themselves
00:46:11than what I would do with them.
00:46:13And as this work proceeded, I began to become interested in what the kind of listening I was doing did to me
00:46:26and my own internal processes.
00:46:29Does it have social and political implications to you, the kind of music that you write?
00:46:43Oh, yes.
00:46:44Well, I feel that one's interactions, the way one relates in an organization of any kind,
00:46:54is political and social and very important.
00:46:59The path that I hope to be on is one where the energy that comes out of the work that I do is beneficial
00:47:08to others as well as myself.
00:47:11I want my work to be mutually beneficial.
00:47:14I'm not interested in making an object of art and entertainment.
00:47:19I'm interested in making something that helps me to grow and expand and change as an individual
00:47:24and in relation to others.
00:47:29Pauline's preoccupation with how we hear and feel the sounds within and around us
00:47:47were shared by Marianne Amershay at MIT, who is sounding out the city.
00:47:53I had installed a microphone in eight locations at the Boston Harbor in the New England Fish Exchange,
00:48:14connected to telephone links.
00:48:20It was very nice to come in late at night at one o'clock in the morning and just turn on the mixer
00:48:25and have the sound coming from the distant night when I liked it best because I could hear patterns and various shapes.
00:48:33I realized, my, there's a tone of this place.
00:48:43There's a whole undercurrent that exists here that makes this recognizable in some way.
00:48:49It wasn't hard to analyze it.
00:48:51In Boston, it was like a low F sharp.
00:48:54In other places, for example, New York, it was like a low E.
00:48:58It wasn't that I wanted the sounds of birds or the sounds of the harbor or any of these sounds.
00:49:09I really wanted to experience and learn about hearing.
00:49:12When people say to you, yeah, but is it music, after you say, yes, it is, how do you expand on that?
00:49:23Well, I think that's sort of an old question.
00:49:26Much of our music, classical pop, has this beat, has this gallop, has this trot.
00:49:32I'm interested in music that communicates some ideas.
00:49:38Finding places where there is space and dimension to the sound,
00:49:43sounds very, very far away and very close up.
00:49:46Marriade was really interested in contemporary science.
00:49:55She had been very interested in muon research,
00:49:57these particles that speed through the universe.
00:50:02She was constantly thinking about intersections of science, life, and sound.
00:50:08Her house was incredible.
00:50:17It was in breathtakingly bad condition.
00:50:22There was this whole rack full of these sine wave oscillators straight out of a physics lab.
00:50:30And there's this woman sitting there with this really intense, like, buzzy energy.
00:50:38She had a rock and roll attitude towards I'm going to make this whole house vibrate and come alive.
00:51:08She wanted to develop an extremely rigorous approach to listening,
00:51:24to activating sights,
00:51:27to thinking outside of composition as it's known.
00:51:31She didn't want to push around dead white men's notes.
00:51:47I wanted to create music where the listener actually had vivid experiences of contributing.
00:51:55In composing, I am conscious of the tones that you make in response to the tones that a musician plays.
00:52:12One of the phenomenons she was most interested in was autoacoustic emission.
00:52:15She referred to them as ear tones.
00:52:19If you have two frequencies and they sound together,
00:52:21the ear and the mind try to sort of resolve them, there is an emergent third pitch.
00:52:29She can compose these outer things that will produce this inner thing.
00:52:36She referred to it as ghost-riding the listener's music.
00:52:43The first time one encounters her music and the way that it dances inside your ear
00:52:48is this lightbulb moment. You can actually play with the physicality of the listener.
00:53:03You'd hear this very high pitch, and then there'd be thunder, beautiful thunder recorded in stereoscopic sound that would shift across the room.
00:53:28And when it hit, there'd be this array of other frequencies that would happen.
00:53:39It was very, very beautiful.
00:53:58The idea of a slowly evolving composition that alters the listener also fired the imagination of Eliane Radigue.
00:54:24and then the end of the song in the background,
00:54:27it just turned out of the sound.
00:54:27It don't have to be a good sound and it was so hard at it and it was so hard at it and it was just very slow.
00:54:34It was just that it took a long time to go to the United States that I had the first time in my Radiance.
00:54:37For the first time I got access to a synthesizer.
00:54:40Tout l'univers musical était extrêmement vivant.
00:54:52C'était une époque d'une effervescence incroyable.
00:55:02Ça a été une ouverture de tous les côtés.
00:55:10Quand j'ai rencontré Eliane, j'ai travaillé avec le boucle synthesizer,
00:55:19mais cette pièce que j'ai écrit, Créptus, n'a pas été comme un boucle.
00:55:40Je travaillais avec le bouclat et un jour, dans une exposition, j'ai vu l'ARP.
00:55:47C'était le coup de foule.
00:55:49La qualité du son est tout à fait spéciale.
00:55:55Il a une couleur qui est la sienne, il a une voix.
00:56:00J'ai vécu une histoire d'amour avec mon ARP 2500.
00:56:07Nous parlons avec Eliane Radic, qui est ici de Paris.
00:56:12Est-ce que vous travaillez avec les synthesizers et les tape-recording processors?
00:56:17Oui, l'ARP synthesizer et les tape-recorder.
00:56:27Ma main involvement avec la musique est de travailler sur le changement de son.
00:56:34Donc, en fait, vous travaillez avec le temps.
00:56:37Oui.
00:56:38Mon dernier travail, Agnose 2, est 75 minutes long.
00:56:42Et il ne peut pas être plus tard.
00:56:44Il s'agit comme un stream.
00:56:46Je dois dire que la musique que je fais n'est pas très bien,
00:57:07excepté par quelques personnes, bien sûr.
00:57:09Il n'y a rien entretenu.
00:57:11Les gens l'aimentent ou pas.
00:57:13Pour la musique, ils pensent que je ne fais pas musique.
00:57:18C'est pas musique.
00:57:20Oh.
00:57:21Nous sommes toujours en train de faire ça, non?
00:57:23Oui.
00:57:26Elle est l'aiment à l'écouter de la façon dont vous entendez un peu,
00:57:30de la façon dont vous entendez un peu de la façon dont vous entendez un pop.
00:57:34En un pop, vous entendez des melodies, harmonies, et des lyrics.
00:57:38En un pop, vous entendez des musiciens,
00:57:40non seulement pour les choses qui changent dans le son,
00:57:43mais pour la façon dont l'expérience est changée dans votre disposition.
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00:58:53Il est tout de même plus équitable d'écouter les tonalités assez surprenantes
00:58:57que l'on obtient avec la musique électronique.
00:58:58...
00:58:59...
00:59:12C'est dans son petit studio du West Side que Carlos a installé son synthétiseur électronique,
00:59:17qui extérieurement ressemble plutôt à un standard téléphonique qu'à un instrument de quelconque.
00:59:23Jusqu'ici, la musique électronique produisait des sons bizarres.
00:59:27...
00:59:29...
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00:59:42Carlos a démontré que l'on pouvait reconstituer de la musique classique en partant de la musique électronique.
00:59:47Sous-titrage Société Radio-Canada
00:59:50...and I'll add a little echo.
00:59:55The transgressive act of recontextualizing these classic Western art music tropes,
01:00:03that takes a lot of strength, humor, and vision.
01:00:08Up until that moment, electronic music had this promise of a different vocabulary,
01:00:18a different language, a new paradigm, a new way of working.
01:00:24Switched on Bach, the way it impacted the public's consciousness
01:00:28of what a synthesizer was, was completely retroactive.
01:00:34Everybody thought that these things were about replicating sounds.
01:00:45To me, electronic music wasn't about making Baroque music with new timbres.
01:00:53It was a different kind of music.
01:00:57You just had the summer of love.
01:01:01Everything we knew was being thrown out.
01:01:04It killed your brain!
01:01:05And it was a whole new world.
01:01:08Electronics were part of that world.
01:01:11What are they?
01:01:12Oh, these are patch cords.
01:01:13This is...
01:01:14These are the things that route the signal from one little module to another to get the sound.
01:01:20You can patch it in a lot of different ways.
01:01:22And the way you patch it will determine what you get.
01:01:26It's like creating an instrument.
01:01:27Do you know before you put them in what it's going to sound like?
01:01:32Well, you're always going towards an idea.
01:01:34You know, that's what makes you put the patch cords in certain places.
01:01:38You know, part of an instrument is what it can do, and part of it is what you do to it.
01:01:43The other part of music, of course, is the motion and the personal involvement that a musician gives to his instrument.
01:01:49And that's something that I happen to feel and have with the synthesizers.
01:01:54So I play the synthesizer the same way somebody else would play cello or violin.
01:01:58For a classically trained pianist to turn her back on a keyboard is crazy.
01:02:12It was like learning a new language via the means of cutting out your own tongue.
01:02:17Yeah, I can sing out of tune, and it'll still be in tune, because it depends on what I'm playing.
01:02:23This is all the pitch, so you don't have to really be able to sing to do this.
01:02:27So it's great, you know, hello, hello, hello.
01:02:31I couldn't get a record deal, because the record companies were not interested in a woman who did not sing.
01:02:38Advertising wanted to be on the edge.
01:02:42They were looking for something different.
01:02:45I had total freedom.
01:02:47Nobody could tell me what to do.
01:02:49They didn't know what I did.
01:02:57The new Clairol custom-care curl and brush.
01:03:06Atari is going to turn your head around.
01:03:08Big news from CoverGirl.
01:03:10There's a whole new thick-lash mascara.
01:03:12The landscape that she must have walked into must have been like something from Mad Men.
01:03:20I remember Suzanne telling me stories like she'd turn up early to set up all the modular gear in studios,
01:03:27and the young engineer would come in and go, which mic are you going to sing on?
01:03:30Or what are you going to sing for us?
01:03:31Because those stereotypes were so commonplace in studios in those days.
01:03:35More than anybody else, she built a career out of making weird music,
01:03:47which is something I think everybody aspires to.
01:03:52She had her own company.
01:03:53She was able to turn her art into something she can live on.
01:03:56Don't be afraid.
01:04:02This is my almost-sailed voice.
01:04:08Make the thing make noises for us.
01:04:11First of all, why do you have this stuff?
01:04:13What do you do with this?
01:04:14Well, this is how I make a living.
01:04:17You don't go door-to-door saying, I'll make you sound goofy.
01:04:21Yeah, they call me.
01:04:23They call you.
01:04:26You don't go door-to-door saying, I'll let it go for about a half an hour.
01:04:46That's wonderful.
01:04:51It was 1980.
01:04:53I was hired to do a Hollywood feature.
01:04:56It was a Lily Tomlin movie.
01:05:00Lily was a woman.
01:05:02The head of the production at Universal was a woman.
01:05:06So I had two women in positions of power, and guess what?
01:05:09I got hired.
01:05:11Is that back? It's for me now?
01:05:13Mike, it's for me.
01:05:14I didn't know I was the first woman to be hired to score a major Hollywood feature.
01:05:20And I didn't know that it would be 14 years until another woman was hired.
01:05:27We are casualties of a day-to-day system that operates without awareness, that we're even there.
01:05:40Galaxy blue, like we go to pieces without galaxy blue.
01:05:46There weren't any women composers that I knew of.
01:05:51I had never heard of one.
01:05:54Composers were old, white, dead men.
01:05:58It was just not something I ever thought of as something I could do.
01:06:03When they asked me in high school, what would you like to do with your life?
01:06:08I said, I would love to do music.
01:06:11They said, totally out of the question.
01:06:13You would have needed to have music lessons all during your childhood.
01:06:17So I did a degree in social sciences.
01:06:20But secretly, I really always wanted to do music.
01:06:25After I got my bachelor's and moved to New York,
01:06:28I thought, I'm going to regret it for the rest of my life if I don't give it a real try.
01:06:37I was taking ear training in music at Chili Art
01:06:40and happened to be in Mike Tchaikovsky's class.
01:06:44And he was working with Mort Sabatik.
01:06:48Mike dragged me down to Mort's studio.
01:06:50And it was like music went from black and white to color.
01:06:55I fell in love with electronic music.
01:06:59It completely changed the way I heard everything.
01:07:01The sounds of the traffic in the street no longer sounded the same.
01:07:08I always wanted to do something in the arts
01:07:11that had to do with the real authentic experience of being alive
01:07:16in contrast to the 1950s hypocritical reality in which I lived
01:07:22and in which everything was glossed over with cotton candy.
01:07:28A perfect dinner, Judy.
01:07:31And you said she couldn't boil water without burning.
01:07:36I got involved in the downtown art scene,
01:07:40which is like, try anything, you know.
01:07:42I tackled learning the Buchla Modular Analog System.
01:07:58While I could do all kinds of wonderful things with sounds,
01:08:01what I really wanted was the precision of the computer.
01:08:03I got involved with computers and music
01:08:07out of frustration and other ways of doing music in part.
01:08:12And also because of the incredible potential that they had
01:08:16for combining the best of all other worlds, let's say.
01:08:21The memory, the logic, the ability to actually interact with sound in real time
01:08:26was, began to be possible, the complete freedom
01:08:31to define any kind of world you wanted.
01:08:34Themosse
01:08:37Themosse
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Recommandations
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À suivre
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