Highlights Of The Vortex Experiments

ELECTRONIC KABUKI MAMBO (CD)

Trilolgy
Chan
For The Big Horn
Logos
Rhythm Study #8
Notes On The History of A World, Part 3
Loop Number 3
Electronic Kabuki Mambo
350-2

The Vortex idea came about quite naturally as a byproduct of the era of New Sounds. While we are accustomed to thinking of music as some ephemeral thing emanating from musical instruments, in reality, we most frequently experience music as some ephemeral thing as it emanates from a loupspeaker. While ideally the high fidelity recording and reproduction of music aims at the closest substitution for a live musical performance, the aims of musique concrete do not. There is no such attempt at increasing the original sound image. Thus with the parameters of the loudspeakers primarily in mind, the composer experiments. His tools and instruments are tape recorders, sound distorting networks, and even musical instruments.

The Vortex Experiment had its' beginning in 1957 as an audio-visual experiment under the joint sponsorship of radio station KPFA and the California Academy of Sciences. Founder Henry Jacobs ascertained the Morrison Planetarium with its' extensive loudspeaker system ideal as a demonstration laboratory. With the thirty-eight high-fidelity speakers, actual movement and gyration of sound was made possible by means of a special rotary console.

Utilizing the elaborate Planetarium lighting system along with special projectors, coordinated full-scale visual effects gave promise of an exciting new form of theater. The permiere of Vortex on May 28, 1957 to a capacity audience established this audio-visual experiment as a true theater of the future with a potential for reaching an audience with unique sensory experiences not based on the customary story, music, or entertainers. Vortex is direct. There is no age, linguistic nor aesthetic barrier to experiencing Vortex.

     "ELECTRONIC KUBUKI MAMBO"
     Autographed Collectors' Edition (CD)
     Price : $15.95

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