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Decloaking briefly to interject my .02... Between the Academy/fringe academy and rock-originated practitioners of EM, there's a tiny gap occupied pretty much by one person: Tod Dockstader. He wasn't musically trained (and thus shunned by Columbia/Princeton, etc.), but he worked in full knowledge of the electronic/concrete music being done at the time. Call him a folk artist, I guess, but his albums from 1958-1966 blow away most of what came out of universities or anywhere else, technically as well as artistically. Check out the CDs on the Staarkland label... David Lee Myers http://www.pulsewidth.com on 11/23/02 1:32 PM, Richard Zvonar at zvonar@zvonar.com wrote: > In particular, if you > look at the electronic and electroacoustic music of the the 1960s > you'll find a clear division between the academic (or at least > institutional) artists such as the Columbia/Princeton group, the > independents such as the San Francisco Tape Center, and a few > commercial independent artists such as Walter (now Wendy) Carlos. > > The Tape Center crowd and their "fellow travellers" on the downtown > New York scene and elsewhere is interesting as a a study in how one > can survive as an artist without either "going commercial" or > becoming locked up in an ivory tower. Many of these composers > (Pauline Oliveros, Mort Subotnick, Jim Tenney, Phil Corner, Bob > Ashley, David Behrman, et al.) had academic careers, some still > ongoing, but were able to parley their standing as "young Turks" into > positions of influence within their departments. In many cases they > were on the founding faculties of new programs (Pauline at Mills and > UCSD, Mort at CalArts) and helped set the tone. > > While the music of these artists may receive the widespread exposure > of former colleagues such as Burt Bacharach or Phil Glass, or > later-generation crossover artists such as Fripp or Eno, it's hardly > what I'd call "introverted." Some of them are on tour throughout the > year and reach large audiences.