CANT

"This book has been conceived as both a prism and a manual. Following the “traditional” arc of electroacoustic composition (listen—record—compose—deploy—feel), each of the contributions collected together here focuses in on a personal aspect, a fragment of that thrilling territory that is sonic and musical experimentation.

Although the term “experimental music” may now have be understood as referring to a genre, or even a particular style, we ought to hold on to the original use of this term, which was based more on an approach than on any particular aesthetic line to be followed. The experimental is first and foremost a spirit, the spirit of the exploration of unknown territories, a spirit of invention which sees musical composition more as a voyage into uncertain territories than as a self-assured approach working safe within the bosom of fully mapped out and recognized lands.

Contents of volume one are as follows:

1. Chris Watson: Recording

2. Brunhild Ferrari: The Microphone’s Gaze

3. Espen Sommer Eide: Exercices d’écoute non-humaine

4. Beatriz Ferreyra: Perceive, Feel, Hear…

5. Drew Daniel: Towards a Heterology of Sound: on Bataille and Musique Concrète

6. Eliane Radigue: Time Is of No Importance

7. Stephen O’Malley: Sound Matters

8. François J. Bonnet: Underneath Listening

9. Jim O’Rourke: Chair and Table

10. Régis Renouard Larivière: Acousmatic Recreations

11. Daniel Teruggi: Spaces of Mind

12. Félicia Atkinson: On the Patio: The Voice, Doubt, Perspective and Immersion

13. François Bayle: Space in Question

Bye Bye Butterfly is a 2 channel tape composition made at the San Francisco Tape Music Center.
It utilises 2 Hewlett Packard oscillators, 2 line amplifiers in cascade, a turntable with record and 2 tape recorders in a delay setup. The composer arranged the equipment, tuned the oscillators, and played through the composition in real time. 

"It bids farewell not only to the music of the 19th century but also to the system of polite morality of that age and its attendant institutionalized oppression of the female sex. The title refers to the operatic disc, Madame Butterfly by Giacomo Puccini, which was at hand in the studio at the time and which was spontaneously incorporated into the ongoing compositional mix." - PO