![]() ![]() The resulting 1986 album, Beauty In The Beast, is what she believes is her most important recording – no small praise considering her career! Once she was ensconced in digital synthesis, Carlos started exploring alternate tunings, becoming as she said, “freed from the tyranny of the octave and tempered tuning". Using these tools she re-created the tones of the full symphony orchestra and released a stunning album called Digital Moonscapes in 1984. Moving beyond analogue, Wendy started exploring digital synthesisers, becoming especially fond of the additive synthesis-based Crumar GDS system, and its spin-off, the Synergy. While working on fledgling compositions, Wendy also took a job at a recording studio, gaining a lot of essential experience and techniques that would serve her well in her mostly home-recording career. Here she studied with Vladimir Ussachevsky and Otto Luening, who founded the Columbia-Princeton Electronic Music Center in New York. ![]() She then went on to Columbia University, earning a master’s degree in music composition. Already interested in electronic music, Wendy used to teach the subject informally while at the University. Wendy Carlos played piano as a youth, and later studied at Brown University, graduating with dual degrees in music and physics. From our vantage point some 50 years on it may be hard to accept this point, and I am not saying mainstream synthesizer music wouldn’t have happened – It would have at some point – but the cultural shock and acceptance of synthesizers for making expressive tonal music can be directly traced to the release of her groundbreaking recording(s). ![]() That recording and Wendy’s follow-up works validated the synthesizer and spurred on many to follow in her footsteps. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |