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Electronic music
Wendy Carlos, the trans woman who pushed
the limits of the synth
This great lady of electronic
experimentation has notably worked with
Robert Moog and signed “Switched-on Bach”
which for a long time remained the best-
selling classical music album in history.
Chronology, Pt. 4: https://oke.io/V6dEeb
one of Jean Michel Jarre's paradoxes
Some see him as the greatest elevator musician of the twentieth
century, while others readily cry genius ... starting with the person
himself.
He makes elevator music, soups. Yes, but
that no one disputes. It is the first to
take on its varietoche side. By playing
his three melody notes on his keyboards
and synthesizers, he shows the audience
that electronic music is built in
superimposed layers which, taken
individually, do not really constitute
technical feats. Quite the opposite of
DJs who amaze their audience by
installing themselves behind an obscure
rack of samplers or rhythm machines (even
if he is an avid user himself ...). And
then the green beam laser harp, it's
still funnier than the MacBook on stage.
Whatever one thinks of his compositions,
Jarre will remain famous for his records
(concerts, album sales) but also for his
intuition: to have understood that
electronic music was something a little
abstract, disembodied in the eyes of the
general public. His shows have thus made
it possible to place images on this music
of the future, to anchor it in a visual
but also symbolic landscape (from the
modern district of La Défense to the
twenty-five years of NASA in Houston via
the Pyramids, the venues for its mega
concerts have rarely been chosen at
random).
Chronology, Pt. 4: https://oke.io/V6dEeb

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Electronic music

  • 1. Electronic music Wendy Carlos, the trans woman who pushed the limits of the synth This great lady of electronic experimentation has notably worked with Robert Moog and signed “Switched-on Bach” which for a long time remained the best- selling classical music album in history. Chronology, Pt. 4: https://oke.io/V6dEeb one of Jean Michel Jarre's paradoxes Some see him as the greatest elevator musician of the twentieth century, while others readily cry genius ... starting with the person himself. He makes elevator music, soups. Yes, but that no one disputes. It is the first to take on its varietoche side. By playing his three melody notes on his keyboards and synthesizers, he shows the audience that electronic music is built in superimposed layers which, taken individually, do not really constitute technical feats. Quite the opposite of DJs who amaze their audience by installing themselves behind an obscure
  • 2. rack of samplers or rhythm machines (even if he is an avid user himself ...). And then the green beam laser harp, it's still funnier than the MacBook on stage. Whatever one thinks of his compositions, Jarre will remain famous for his records (concerts, album sales) but also for his intuition: to have understood that electronic music was something a little abstract, disembodied in the eyes of the general public. His shows have thus made it possible to place images on this music of the future, to anchor it in a visual but also symbolic landscape (from the modern district of La Défense to the twenty-five years of NASA in Houston via the Pyramids, the venues for its mega concerts have rarely been chosen at random). Chronology, Pt. 4: https://oke.io/V6dEeb