ROSENBOOM & BUCHLA "collaboration in performance" LP NM/VG+ ELECTRONIC MUSIC

$

34

David Rosenboom (born 1947 in Fairfield, Iowa)[1] is a composer, performer, interdisciplinary artist, author, and educator known for his work in American experimental music.

Rosenboom has explored various forms of music, languages for improvisation, new techniques in scoring for ensembles, multi-disciplinary composition and performance, cross-cultural collaborations, performance art and literature, interactive multi-media, new instrument technologies, generative algorithmic systems, art-science research and philosophy, and extended musical interface with the human nervous system. He is a pioneer in the use of neurofeedback and compositional algorithms.

He is currently Faculty at The Herb Alpert School of Music at California Institute of the Arts, where he served as he dean from 1990 to 2020. He has also taught at other institutions such as Mills College, York University, and the Center for Creative and Performing Arts at the State University of New York in Buffalo. His students include Jin Hi Kim and Gino Robair.

As a young student, he studied (never finishing an undergraduate degree) composition, performance, and electronic music at the University of Illinois at Urbana-Champaign with Salvatore Martirano, Lejaren Hiller, Kenneth Gaburo, Gordon Binkerd, Bernard Goodman, Paul Rolland, Jack McKenzie, Soulima Stravinsky, John Garvey, and others. Working with Don Buchla, he was one of the first composers to use a digital synthesizer.[2] He has performed at CalArts with Trichy Sankaran.

Rosenboom was married to performance artist and vocalist Jacqueline Humbert until 2012.[3] He has three children from the union — Daniel, Dorothea, and Lindsay.

Don Buchla

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From Wikipedia, the free encyclopedia

Don Buchla

Don Buchla and Buchla 200e (2006 NAMM Show)

Don Buchla and Buchla 200e

(2006 NAMM Show)

Background information

Birth name Donald Buchla

Born April 17, 1937

South Gate, California, US

Died September 14, 2016 (aged 79)

Berkeley, California, US

Occupation(s) Electronic musical instrumental inventor

Donald Buchla (April 17, 1937 – September 14, 2016) was an American pioneer in the field of sound synthesis. Buchla popularized the "West Coast" style of synthesis. He was co-inventor of the voltage controlled modular synthesizer along with Robert Moog, the two working independently in the early 1960s.[1][2]

Biography

Buchla was born in South Gate, California, on April 17, 1937,[3] and grew up in California and New Jersey.[4][5] He studied physics, physiology, and music at UC Berkeley, graduating in 1959 as a physics major.[4]

Buchla formed his electronic music equipment company, Buchla and Associates, in 1962 in Berkeley, California.[6] He was commissioned by composers Morton Subotnick and Ramon Sender, both of the San Francisco Tape Music Center, to create an electronic instrument for live performance.[4] Buchla began designing his first modules for the Tape Music Center in 1963.[citation needed]

With partial funding from a $500[7] Rockefeller Foundation grant made to the Tape Music Center, Buchla assembled his modules into the Buchla Modular Electronic Music System (later known as the Series 100) in 1965, which he began selling commercially in 1966.[1] Buchla's synthesizers experimented in control interfaces, such as touch-sensitive plates. In 1969 the Series 100 was briefly sold to CBS Musical Instruments, who soon after dropped the line, not seeing the synthesizer market as a profitable area.[8]

1970 saw the release of the Buchla 200 series Electric Music Box,[3] which was manufactured until 1985.[citation needed] Buchla created the Buchla Series 500, the first digitally controlled analog synthesizer, in 1971.[3]

Shortly after, the Buchla Series 300 was released, which combined the Series 200 with microprocessors. The Music Easel, a small, portable, all-in-one synthesizer was released in 1972. The Buchla 400, with a video display, was released in 1982. In 1987, Buchla released the fully MIDI enabled Buchla 700.[9]

Buchla Series 100 (1963/1966–1969)

Beginning in the 1990s, Buchla began designing alternative MIDI controllers, such as the Thunder, Lightning, and Marimba Lumina. With the recent resurgence of interest in analog synthesizers Buchla has released a revamped 200 series called the 200e.[10]

In 2005, NIME-05 (5th International Conference on New Interfaces for Musical Expression), in Vancouver, Canada, featured a keynote lecture by Don Buchla. There was also a sizable exhibition of many of the instruments he and his team have created over the years.[11]

In 2012, Buchla's intellectual property was acquired by an Australian holding company, Audio Supermarket, which started a new brand called Buchla Electronic Musical Instruments (BEMI). Mr. Buchla was retained as Chief Technology Officer.[citation needed]

In 2015, it was reported[12] that Don Buchla had taken the owners of BEMI to court, citing health problems due in part to unpaid consulting fees and asserting a claim to his original intellectual property. The lawsuit alleged breach of contract and "bad-faith conduct" on the part of BEMI's owners and sought $500,000 in compensation.[13]

Legal documents[14] filed with the state of California indicate that the court ordered the case to be settled by arbitration in July 2015. In August 2016, the court dismissed the case in light of the fact that the parties had reached an out-of-court settlement.[citation needed]

As of 2018, a new company called Buchla U.S.A. has been created to carry on Don's legacy and continue producing his 200e modular synthesizer system,[15] with certain individuals involved in engineering and manufacturing remaining involved.

Death

Buchla died at the age of 79 on September 14, 2016, of complications from cancer in Berkeley, California.[16][17][18]

Personal life

He was survived by his wife,[19] a son, Ezra Buchla who is a musician, [18] daughters Jeannine Serbanich and Erin Buchla, and two grandchildren.

GOLDMINE GRADING

MINT ---- It should appear to be perfect. No scuffs or scratches, blotches or stains, labels or writing, tears or splits. Mint means perfect.

NEAR MINT ---- Otherwise mint but has one or two tiny inconsequential flaws that do not affect play. Covers should be close to perfect with minor signs of wear or age just becoming evident: slight ring-wear, minor denting to a corner, or writing on the cover should all be noted properly.

VERY GOOD PLUS ---- The record has been handled and played infrequently or very carefully. Not too far from perfect. On a disc, there may be light paper scuffs from sliding in and out of a sleeve or the vinyl or some of the original luster may be lost. A slight scratch that did not affect play would be acceptably VG+ for most collectors.

VERY GOOD ---- Record displays visible signs of handling and playing, such as loss of vinyl luster, light surface scratches, groove wear and spindle trails. Some audible surface noise, but should not overwhelm the musical experience. Usually a cover is VG when one or two of these problems are evident: ring wear, seam splits, bent corners, loss of gloss, stains, etc.

GOOD ---- Well played with little luster and significant surface noise. Despite defects, record should still play all the way through without skipping. Several cover flaws will be apparent, but should not obliterate the artwork.

POOR ---- Any record or cover that does not qualify for the above "Good" grading should be seen as Poor. Several cover flaws.