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Downloaded from
YTS.MX

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Official YIFY movies site:
YTS.MX

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[Indistinct talking]

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[Car engines running]

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[Subtle beeping]

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- [Man Off Camera]: Are you
guys going to stop ever,

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or are you gonna
keep dancing forever?

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- I'm gonna keep dancing
forever, I mean.

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Well, at least 'til
I remember

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where I put my car.

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[Rhythmic electronic beeping]

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- [Female Narrator]: This
is the story of women

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who hear music
in their heads,

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of radical sounds

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where there was once silence,

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of dreams enabled
by technology.

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- Technology is a
tremendous liberator.

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It blows up power structures.

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[Rhythmic electronic beeping
becoming more complex]

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Women are naturally drawn
to electronic music.

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You didn't have
to be accepted

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by any of the
male-dominated resources:

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the radio stations,

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the record companies,

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the concert hall venues,

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the funding organisations.

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You could make something
with electronics

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and you can present music
directly to your audience

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and that gives you
tremendous freedom.

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But somehow women get
forgotten from that history.

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[Electronic beeping darkens
and fades away]

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- [Female Narrator]: The
history of women

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has been a
story of silence,

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of breaking through
the silence.

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- We shall not be
robbed any longer.

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- [Female Narrator]:
With beautiful noise

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[Rhythmic electronic beeping]

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[Beeping merges into
a stagnant tone]

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- This is April 30th, 1974.

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And we're all here at
the Bonino Gallery.

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- [Woman Off Camera]:
What's your name?

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- Suzanne Ciani,
C-I-A-N-I.

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[Giggles]

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[Subdued electronic music]

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And I'm going to give...

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I'm going to play a concert
on the Buchla synthesizer.

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These instruments are
designed by a manufacturer

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in Berkeley, California.

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They're probably the most
sophisticated system

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that's available.

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And I think they're sensual.

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May I have a cigarette?

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- [Woman Off Camera]:
They're what?

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- Sensual.

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Thank you.

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With this new technology,
you could do it all yourself.

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So you were the composer.

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you were the performer,
you were the sole arbiter

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of your creation.

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[Haunting synthesizer music]

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[Repetitive melodic tones layer
over prolonged swelling tones]

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And the machine was alive.

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It was warm.

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It communicated.

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It was sensitive.

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You know, you could
move something

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just the littlest bit

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and then a whole new
expression would open up.

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[Synthesizer music deepens
and intensifies]

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[Deep, full tones move quickly
as swelling tones continue]

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One of the most amazing
experiences you can have

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is to be in the middle of
this sound that's moving.

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The thing that I've always
loved about electronic music

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is that it's in motion.

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It's malleable.

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It's a much more open
set of dynamics.

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[A new melody emerges
as lower tones steady]

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In electronics, you're not
dealing so literally with

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the architecture of
nodes or harmonies,

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those building blocks
in classical music.

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You're dealing in energy.

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[Air whooshing]

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[Synthesizer music
becomes more hurried]

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- [Female Narrator]: At the
dawn of the 20th century,

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the world was
no longer silent.

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The spirit of modern
life was a banshee

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screeching into
the future.

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Futurists wanted to
make art out of

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the new energy,
speed, and noise.

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How would we begin
to do such a thing,

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to capture the sound of
this electrified world?

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[Humming pitch mirrors
Clara's hand movements]

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- I do very much what
a diver would do.

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I just have to take a chance.

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And here I am.

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[Hum jumps from a lower
octave to a higher octave]

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See?

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A hair breadth off and I'm
already on a different note.

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Dr. Ray, now
we'll have fun.

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[Dr. Ray laughs]

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Now we'll have fun.

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Now, here, hold
your hand over this.

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[Electronic tones whining in
tandem with hand movements]

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It is a fallacy to think
that the instrument

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is easy to play.

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It is much more difficult
than the violin.

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I was a concert violinist
before I played this.

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[Passionate classical music
on piano and Theremin]

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As young girls, both my sister
and I gave joint concerts

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playing the violin and the
piano all over Russia

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00:07:02,280 --> 00:07:04,120
then all over Europe.

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We played our way to America.

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I met Professor Theremin
when he came to America

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to demonstrate the instrument.

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I was fascinated by

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the aesthetic part
of the instrument,

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the beauty,

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and the idea of
playing completely

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without touching anything.

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I also loved the sound of it.

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[Classical music continues]

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Professor Theremin became
a great friend and admirer,

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and we really worked on

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this particular
instrument together.

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I making my musical
pushes known to him,

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and he being the
genius that he was

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made it work.

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[Emotional
piano music]

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And we played the
Nardini Concerto.

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We played the whole
César Franck Sonata,

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which was at that time
a rather great surprise

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because the Theremin
was associated with

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just little melodies.

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[Theremin plays a deep,
passionate melody]

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- [Aura Satz]: Suddenly
you get someone

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who's a total virtuoso

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and able to make
it sound in a way

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that it had never
sounded before.

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[Mournful classical music
with piano accompaniment]

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- [Female Narrator]: You cannot
play air with hammers,

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Clara would say.

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You have to play with
butterfly wings.

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[Mournful classical
music continues]

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- [Clara Rockmore]: I was a
freak at the time.

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The public had to be won
over into thinking of it

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as a real artistic medium
played by an artist,

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and I won them over.

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[Birds chirping]

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A young composer
said to me,

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"It's listening to this
singing of a soul."

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Now isn't that
a lovely thought,

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singing of a soul?

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[Harsh, irregular tones]

154
00:10:09,680 --> 00:10:13,240
- The first stage in the
realisation of a piece of music

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00:10:13,280 --> 00:10:15,240
is to construct the
individual sounds

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that we're going to use.

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To do this,
we go to these

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00:10:19,760 --> 00:10:22,200
sound generators here,
electronic generators,

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00:10:22,240 --> 00:10:25,480
and we listen to three of the
basic electronic sounds.

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First, is the simplest
sound of all,

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which is a sine wave.

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[Stagnant tone]

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00:10:30,240 --> 00:10:31,200
You can see on
the oscilloscope,

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it has a very simple form and
has a very pure sound.

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Now listen to the same note
but with a different quality.

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This is a square wave.

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[Piercing stagnant tone]

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It's very square
on the picture

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and perhaps rather
harsh to listen to.

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This is because it has a lot
of high harmonics

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00:10:46,840 --> 00:10:50,840
and that's what gives the
corners on the picture.

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Now a more complex
sound still is white noise.

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[Staticky, rain-like sound
with no distinguishable pitch]

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00:10:58,320 --> 00:11:00,960
We don't always go to
electronic sound generators

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00:11:01,000 --> 00:11:02,960
for our basic
sources of sound.

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00:11:03,000 --> 00:11:06,760
If the sound we want exists
already in real life, say,

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we can go and record it.

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00:11:08,360 --> 00:11:09,720
[Medium-pitched pop]

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[High-pitched, sharp tone]

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But those basic sounds
aren't really interesting

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in their raw
state like this.

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00:11:17,040 --> 00:11:19,280
To make them of value
for a musical piece,

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we have to shape them
and mold them.

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00:11:22,800 --> 00:11:24,400
We can get the lower sounds
we need from the rhythm

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00:11:24,440 --> 00:11:26,760
by slowing down the tape.

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00:11:26,800 --> 00:11:28,960
[Low-pitched pop]

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00:11:29,000 --> 00:11:31,200
And the higher sounds by
speeding up the tape.

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00:11:31,240 --> 00:11:32,880
[Pops get progressively
higher in pitch]

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00:11:32,920 --> 00:11:34,520
And then all we have
to do is cut the notes

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to the right length.

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00:11:37,160 --> 00:11:40,840
We can join them together on
a loop and listen to them.

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00:11:40,880 --> 00:11:44,080
[Low pops become
rhythmic bass tones]

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00:11:44,120 --> 00:11:47,960
And then with the higher
notes of the rhythm, again,

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00:11:48,000 --> 00:11:49,760
we join them
together in a loop

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00:11:49,800 --> 00:11:51,920
and play it in
synchronisation

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00:11:51,960 --> 00:11:54,320
with the first tape.

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00:11:54,360 --> 00:11:58,720
[Rapid rhythm of high "pop"
tones overlays bass tones]

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00:11:58,760 --> 00:12:01,000
And over this we can play.

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00:12:01,040 --> 00:12:06,080
[Rapid rhythm of higher
tones layers on top]

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00:12:06,120 --> 00:12:11,160
[Mysterious melody begins]

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00:12:11,200 --> 00:12:20,280
[Haunting ringing tones]

202
00:12:20,320 --> 00:12:22,760
Using all of these we can
build up any sound

203
00:12:22,800 --> 00:12:24,600
we can possibly
imagine.

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00:12:24,640 --> 00:12:26,960
We spend quite a lot of time
trying to invent new sound,

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00:12:27,000 --> 00:12:28,120
sounds that don't
exist already,

206
00:12:28,240 --> 00:12:29,960
sounds that can't be produced
by musical instruments.

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00:12:30,000 --> 00:12:33,160
[Scratching]

208
00:12:33,280 --> 00:12:36,000
[High-pitched squeaking]

209
00:12:36,120 --> 00:12:39,240
The radio, the radio,
the radio was

210
00:12:39,280 --> 00:12:42,080
the most important
thing in my life.

211
00:12:42,120 --> 00:12:44,200
You know, there
weren't books.

212
00:12:44,240 --> 00:12:48,040
The radio was my education.

213
00:12:48,080 --> 00:12:51,040
[Haunting tones and
subdued beeping]

214
00:12:51,080 --> 00:12:55,080
I was accepted by the Oxford
and the Cambridge

215
00:12:55,120 --> 00:12:58,320
to read mathematics,
which is quite something

216
00:12:58,480 --> 00:13:01,800
for a working-class
girl in the '50s,

217
00:13:01,840 --> 00:13:07,080
where only one in 10
were female.

218
00:13:08,120 --> 00:13:11,800
- Delia was a
brilliant mathematician.

219
00:13:11,840 --> 00:13:15,160
She was fascinated by the
inner composition of a sound.

220
00:13:15,200 --> 00:13:17,480
Then she could reach
into it and decide

221
00:13:17,520 --> 00:13:21,160
what part of that sound
she wanted to use.

222
00:13:21,200 --> 00:13:23,800
[Distant sirens]

223
00:13:23,840 --> 00:13:30,280
[Menacing pulses]

224
00:13:30,320 --> 00:13:34,120
- [Delia Derbyshire]: I was in
Coventry during the Blitz.

225
00:13:34,160 --> 00:13:37,400
That was such an
influence on me.

226
00:13:41,440 --> 00:13:47,480
It's come to me that my love
for abstract sounds were

227
00:13:47,640 --> 00:13:50,200
sounds of the air raid siren.

228
00:13:50,240 --> 00:13:51,160
[Sirens continue]

229
00:13:51,280 --> 00:13:54,560
Because that's the sound you
hear and you don't know

230
00:13:54,600 --> 00:13:57,920
the source of it
as a young child.

231
00:13:57,960 --> 00:14:01,640
It's an abstract sound
and it's meaningful

232
00:14:01,760 --> 00:14:04,680
and then the all clear.

233
00:14:04,720 --> 00:14:09,400
[Sirens merge into electronic
music sounds]

234
00:14:13,000 --> 00:14:22,480
[Haunting hum]

235
00:14:27,040 --> 00:14:35,960
[Bombs exploding]

236
00:14:36,000 --> 00:14:38,560
- [Female Narrator]: World War II
emptied cities of men.

237
00:14:38,600 --> 00:14:40,680
[Time clock clicking]

238
00:14:40,720 --> 00:14:43,280
And in the absence of
men, women worked.

239
00:14:43,320 --> 00:14:45,400
[Machine rattling]

240
00:14:45,480 --> 00:14:48,400
Freedom was more
than a feeling.

241
00:14:52,800 --> 00:14:53,800
- [Man]: There isn't
much glamour

242
00:14:53,840 --> 00:14:55,600
about this
independence.

243
00:14:55,640 --> 00:14:57,560
Women at work are
getting to look and behave

244
00:14:57,600 --> 00:14:59,800
more like men.

245
00:14:59,840 --> 00:15:03,120
It's not very attractive.

246
00:15:05,360 --> 00:15:09,160
[Haunting squeaking sounds]

247
00:15:09,200 --> 00:15:12,280
- Welcome to Tower Folly,
this lonely host house

248
00:15:12,320 --> 00:15:15,280
on the North Downs of Kent.

249
00:15:15,320 --> 00:15:16,280
Well, as far
as I know

250
00:15:16,320 --> 00:15:18,000
this house isn't haunted
and there isn't

251
00:15:18,040 --> 00:15:20,240
a mad scientist in sight.

252
00:15:20,280 --> 00:15:23,240
This is in fact a music factory
where they can literally

253
00:15:23,280 --> 00:15:26,160
make music out of
electronic sounds,

254
00:15:26,200 --> 00:15:29,320
and the woman who makes it
has just been awarded a grant

255
00:15:29,360 --> 00:15:32,560
by the Gulbenkian Foundation
to help her research.

256
00:15:32,600 --> 00:15:34,520
She's here at
her control box,

257
00:15:34,560 --> 00:15:37,200
Miss Daphne Oram.

258
00:15:37,560 --> 00:15:40,040
How did you get involved
in this kind of work?

259
00:15:40,080 --> 00:15:42,960
- It dates back really
to 1944, I think,

260
00:15:43,000 --> 00:15:43,800
when I read a book

261
00:15:43,840 --> 00:15:46,600
which prophesied that
composers in the future

262
00:15:46,640 --> 00:15:48,560
would compose directly
into sound instead of

263
00:15:48,600 --> 00:15:50,960
using orchestral
instruments, you see.

264
00:15:51,000 --> 00:15:53,560
And well, since then
I've been working

265
00:15:53,600 --> 00:15:55,280
in BBC Studios,

266
00:15:55,320 --> 00:15:56,720
and so I've got
some little grasp

267
00:15:56,760 --> 00:15:58,720
of this sort of
equipment.

268
00:15:58,760 --> 00:16:01,560
[Upbeat orchestral
music starts]

269
00:16:01,600 --> 00:16:03,160
I was trained as a musician,

270
00:16:03,200 --> 00:16:06,760
and the two sort of
click together, you see.

271
00:16:08,840 --> 00:16:10,800
- Daphne was a
very gifted pianist

272
00:16:10,840 --> 00:16:13,200
and she had secured
a place for herself

273
00:16:13,240 --> 00:16:16,520
at the Royal Academy of Music,
which she turned down

274
00:16:16,560 --> 00:16:19,240
because she was also very
interested in technology

275
00:16:19,280 --> 00:16:22,280
and wanted to
work at the BBC.

276
00:16:22,320 --> 00:16:26,240
[Haunting electronic sounds]

277
00:16:26,280 --> 00:16:28,480
I was asked to do some
incidental music

278
00:16:28,520 --> 00:16:30,560
for a television play,

279
00:16:30,600 --> 00:16:34,280
and I did this by
getting together,

280
00:16:34,320 --> 00:16:35,720
in the middle of the night,

281
00:16:35,760 --> 00:16:39,240
all the tape recorders that
I could find in studios,

282
00:16:39,280 --> 00:16:41,280
collecting them together
in one studio,

283
00:16:41,320 --> 00:16:45,560
and working until they had to
be put back the next morning,

284
00:16:45,600 --> 00:16:47,240
sleeping a little bit and
then coming back in

285
00:16:47,280 --> 00:16:50,240
to do my normal
chamber music work.

286
00:16:50,280 --> 00:16:54,960
[Upbeat flute and piano
chamber music]

287
00:16:55,000 --> 00:16:57,520
Then it grew from that.

288
00:16:57,560 --> 00:17:01,160
I was asked to help start
the radiophonic workshop.

289
00:17:01,200 --> 00:17:04,520
- [Man Whispering]:
Listen.

290
00:17:04,560 --> 00:17:05,520
- Without Daphne,

291
00:17:05,560 --> 00:17:08,320
it would never have started
because BBC did not want

292
00:17:08,360 --> 00:17:10,280
an electronic music studio.

293
00:17:11,880 --> 00:17:14,800
We were just using anything
we could grab hold of.

294
00:17:14,840 --> 00:17:17,200
We had basic
laboratory equipment

295
00:17:17,240 --> 00:17:20,440
and a pair of tape machines
that had been liberated

296
00:17:20,480 --> 00:17:22,800
at the end of the war.

297
00:17:22,840 --> 00:17:25,200
[Banging and oscillating
electronic sounds]

298
00:17:25,240 --> 00:17:27,320
- Playwrights were
writing in a surreal

299
00:17:27,360 --> 00:17:28,800
kind of style,

300
00:17:28,840 --> 00:17:31,280
which was a
legacy of the war.

301
00:17:31,320 --> 00:17:34,800
The style required a
different kind of sound.

302
00:17:34,840 --> 00:17:37,800
- [echoing, haunting male voice]:
Bird or angel?

303
00:17:37,880 --> 00:17:39,840
- [Male Radio Announcer]: This
program is an experiment.

304
00:17:39,880 --> 00:17:41,200
We think it's
worth broadcasting

305
00:17:41,240 --> 00:17:43,080
as a perfectly serious
first attempt

306
00:17:43,120 --> 00:17:46,160
to find out whether
we can convey a new kind of

307
00:17:46,200 --> 00:17:49,000
emotional and
intellectual experience

308
00:17:49,040 --> 00:17:52,520
by means of what we call
radiophonic effects.

309
00:17:52,560 --> 00:17:55,960
[Trudging,
heavy beat]

310
00:17:56,000 --> 00:17:57,920
- [Echoing, rhythmic chanting]:
Round and round

311
00:17:57,960 --> 00:18:01,280
like a wind
from the ground.

312
00:18:01,320 --> 00:18:07,000
[Unintelligible]

313
00:18:07,120 --> 00:18:10,800
- [Male Radio Announcer]: It's
a sort of modern magic.

314
00:18:10,840 --> 00:18:14,520
Some musicians believe that
it can become an art form

315
00:18:14,560 --> 00:18:16,240
complete in itself.

316
00:18:16,280 --> 00:18:17,920
Others are skeptical.

317
00:18:17,960 --> 00:18:19,280
In fact, we've decided
not to use

318
00:18:19,320 --> 00:18:21,280
the word "music" at all.

319
00:18:21,320 --> 00:18:24,120
[Whispering and
howling sounds]

320
00:18:28,320 --> 00:18:30,240
- [Female Narrator]: What
began as a research trip

321
00:18:30,280 --> 00:18:36,520
to the Brussels World Fair
became a fateful pilgrimage.

322
00:18:36,640 --> 00:18:40,160
There, Daphne hears
an electronic composition

323
00:18:40,200 --> 00:18:41,840
fed through 350 speakers

324
00:18:41,880 --> 00:18:44,800
with synchronised
projections.

325
00:18:44,840 --> 00:18:47,760
[Low rumbling]

326
00:18:50,080 --> 00:18:54,240
Electronic music was more
than just incidental.

327
00:18:54,280 --> 00:18:58,480
It was the sound
of the future.

328
00:19:02,360 --> 00:19:04,800
- [Daphne Oram]: The radiophonic
workshop was concentrating

329
00:19:04,840 --> 00:19:07,440
somewhat on the drama side,

330
00:19:07,480 --> 00:19:10,000
and I wanted to concentrate
on the music side.

331
00:19:10,040 --> 00:19:16,280
So I set up my own studio.

332
00:19:16,320 --> 00:19:17,280
- She was a woman,

333
00:19:17,320 --> 00:19:19,200
in the 1950s,
set up her own

334
00:19:19,240 --> 00:19:21,680
independent electronic
music studio.

335
00:19:21,720 --> 00:19:23,480
It's extraordinarily brave.

336
00:19:23,520 --> 00:19:26,840
[Fluttering,
whistle-like sounds]

337
00:19:26,880 --> 00:19:27,840
- [Male Interiewer]:
Now Miss Oram,

338
00:19:27,880 --> 00:19:29,200
how do you go about
manufacturing

339
00:19:29,240 --> 00:19:30,680
this sort of sound?

340
00:19:30,720 --> 00:19:32,000
- Well, let me introduce

341
00:19:32,040 --> 00:19:34,160
this little electronic
generator here,

342
00:19:34,200 --> 00:19:36,200
which produces
a sound like this.

343
00:19:36,240 --> 00:19:38,360
[Resonant tone getting
progressively lower]

344
00:19:38,400 --> 00:19:40,760
Now I made a little
loop of tape here

345
00:19:40,800 --> 00:19:43,240
with varying pure
tones on it.

346
00:19:43,280 --> 00:19:45,240
[Rapidly ascending tones]

347
00:19:45,280 --> 00:19:48,720
Now if I then put a little
artificial reverberation

348
00:19:48,760 --> 00:19:50,360
on that,
I think you'll see

349
00:19:50,400 --> 00:19:52,160
we're just beginning
to get somewhere

350
00:19:52,200 --> 00:19:53,240
with the music.

351
00:19:53,280 --> 00:20:01,720
[Reverberating, ethereal
ascending tone patterns]

352
00:20:01,760 --> 00:20:09,800
[Simple melody playing]

353
00:20:12,080 --> 00:20:47,680
[Joyful melody plays over
percussive tapping]

354
00:20:47,720 --> 00:20:49,280
- [Male Interviewer]: What are
you going with this

355
00:20:49,320 --> 00:20:52,040
three-and-a-half thousand
pounds that you've got?

356
00:20:52,080 --> 00:20:53,720
- Well, this is very
exciting to me

357
00:20:53,760 --> 00:20:57,200
because I have ideas for a
piece of electronic equipment,

358
00:20:57,240 --> 00:20:58,360
not quite like this.

359
00:20:58,400 --> 00:21:00,480
In this case,
the composer,

360
00:21:00,520 --> 00:21:03,800
we're going to be able to
feed in drawn symbols

361
00:21:03,840 --> 00:21:07,840
straight into the equipment
and out will come the sounds.

362
00:21:07,880 --> 00:21:11,320
[Rumbling]

363
00:21:11,360 --> 00:21:14,200
I have a new
technique completely,

364
00:21:14,240 --> 00:21:17,800
one that I've evolved
over the years,

365
00:21:17,840 --> 00:21:20,480
which I call oramics.

366
00:21:20,520 --> 00:21:24,760
Now that is using graphic
representation of sound.

367
00:21:24,800 --> 00:21:27,240
[Reverberating tones]

368
00:21:27,280 --> 00:21:30,160
There seems to be
no real notation system

369
00:21:30,200 --> 00:21:31,680
in electronic music.

370
00:21:31,720 --> 00:21:35,760
I wanted a system where I
could graphically represent

371
00:21:35,800 --> 00:21:39,240
what I wanted and
give that representation,

372
00:21:39,280 --> 00:21:42,040
that musical score,
in fact, to a machine

373
00:21:42,080 --> 00:21:44,960
and have from it
the sound.

374
00:21:45,000 --> 00:21:51,320
[Reverberating tones
continue]

375
00:21:51,360 --> 00:21:55,720
[playful waltz of
electronic tones]

376
00:21:55,760 --> 00:21:57,440
- This idea of drawn sound

377
00:21:57,480 --> 00:22:00,040
is a sound that
comes from nowhere.

378
00:22:00,080 --> 00:22:04,200
It's a sound that is
synthesised from nothing,

379
00:22:04,240 --> 00:22:06,160
but she's not the
ghost in the machine

380
00:22:06,200 --> 00:22:08,160
her hands are
all over it.

381
00:22:08,200 --> 00:22:23,280
[playful waltz continues]

382
00:22:23,320 --> 00:22:26,960
- The composer wants to
project something of himself.

383
00:22:27,000 --> 00:22:31,240
The great works of art are a
projection of a human mind.

384
00:22:31,280 --> 00:22:35,240
And unless this machine can
accept and produce exactly

385
00:22:35,280 --> 00:22:38,200
this projection of the
composer's thought,

386
00:22:38,320 --> 00:22:41,560
then I think it's just a
machine and I can quite see

387
00:22:41,600 --> 00:22:44,000
why people can get
frightened at the thought.

388
00:22:46,120 --> 00:22:51,720
[Percussive beat resembling
a train on tracks]

389
00:22:51,760 --> 00:22:53,480
[Eliane Radigue speaking French]

390
00:22:58,280 --> 00:23:02,240
[Percussive beat continues]

391
00:23:18,200 --> 00:23:21,720
[Ocean-like waves of sound]

392
00:23:29,520 --> 00:23:33,520
[Airplane engine roaring]

393
00:23:41,280 --> 00:23:49,880
[Prolonged metallic tones]

394
00:24:16,400 --> 00:24:20,320
Pierre Schaeffer said, "In
between noise and music,

395
00:24:20,360 --> 00:24:22,920
"there is the hand
of the musician."

396
00:24:22,960 --> 00:24:25,080
[Man speaking French]

397
00:24:25,320 --> 00:24:27,520
[French voice recording
repeats on a loop]

398
00:24:27,560 --> 00:24:28,280
- Stop.

399
00:24:28,320 --> 00:24:32,440
[Eliane speaking French]

400
00:25:03,240 --> 00:25:15,240
[light chiming tones overlay
deep airy sounds]

401
00:25:15,360 --> 00:25:17,160
- [Female Narrator]: Eliane
dreamt of an unreal,

402
00:25:17,200 --> 00:25:22,960
impalpable music appearing
and fading away like clouds

403
00:25:23,000 --> 00:25:26,160
in the blue summer sky.

404
00:25:26,200 --> 00:25:47,320
[Slow pulses of pleasant
tones and chimes]

405
00:25:51,360 --> 00:25:54,120
[Eliane speaking French]

406
00:25:59,200 --> 00:26:01,040
[Mix of mysterious
electronic sounds]

407
00:26:01,320 --> 00:26:03,360
[Pierre Henry speaking French]

408
00:26:09,960 --> 00:26:11,280
[Eliane speaking French]

409
00:27:01,800 --> 00:27:25,840
[Single tone splits into
multiple dissonant tones]

410
00:27:25,880 --> 00:27:50,360
[A complex chorus
of tones emerges]

411
00:27:52,600 --> 00:27:55,920
- [Man]: Greenwich Village is
mostly a state of mind.

412
00:27:55,960 --> 00:27:57,760
[Blues music]

413
00:27:58,520 --> 00:28:01,200
- [Bebe Barron]: The Village
in the 50s had to be

414
00:28:01,240 --> 00:28:04,480
the most exciting, wonderful
place in the world.

415
00:28:04,520 --> 00:28:08,200
It was unbelievable,
like Paris in the 20s.

416
00:28:12,040 --> 00:28:17,800
We were married in '48 and
Louis's cousin brought us

417
00:28:17,840 --> 00:28:21,640
a tape recorder for
a wedding present.

418
00:28:21,680 --> 00:28:24,000
I think we were the
only ones in the country

419
00:28:24,040 --> 00:28:26,480
with that machine.

420
00:28:26,520 --> 00:28:30,160
We had all the artists in
The Village coming to us

421
00:28:30,200 --> 00:28:32,240
for recording work.

422
00:28:32,280 --> 00:28:34,440
[Reverberating high
and low tones]

423
00:28:34,480 --> 00:28:36,240
- [Female Performer]:
I remember my first

424
00:28:36,280 --> 00:28:38,520
birth in water.

425
00:28:38,560 --> 00:28:44,600
I sway and float,
stand on boneless toes,

426
00:28:44,640 --> 00:28:47,880
listening for
distant sounds,

427
00:28:47,920 --> 00:28:52,040
sounds beyond the
reach of human ears.

428
00:28:52,080 --> 00:28:55,320
[Whistling tones join the
reverberating tones]

429
00:28:55,360 --> 00:28:58,280
- [Bebe]: We started
a recording studio.

430
00:28:58,320 --> 00:29:02,080
We built almost all the
equipment ourselves

431
00:29:02,120 --> 00:29:04,320
because there
wasn't any to buy.

432
00:29:04,360 --> 00:29:05,320
[Upbeat orchestral music]

433
00:29:05,360 --> 00:29:07,200
- [Male Announcer]: The great
American boy is hard at work

434
00:29:07,240 --> 00:29:11,760
inventing, creating,
building something.

435
00:29:11,800 --> 00:29:14,760
And the desire to build
and create new things

436
00:29:14,800 --> 00:29:16,280
is the energy that develops

437
00:29:16,320 --> 00:29:21,760
industrious, dependable
citizens of tomorrow.

438
00:29:21,800 --> 00:29:23,760
- [Louis Barron]: It was
exciting because you were

439
00:29:23,800 --> 00:29:26,080
building these things and
you're experimenting with

440
00:29:26,120 --> 00:29:27,160
the electronic media.

441
00:29:27,200 --> 00:29:30,160
[Bubbling sounds dance
atop an asymmetrical beat]

442
00:29:30,200 --> 00:29:31,640
- [Female Narrator]:
Louis made sounds

443
00:29:31,680 --> 00:29:34,320
by overloading circuit boards,

444
00:29:34,360 --> 00:29:39,320
which Bebe then processed and
manipulated to create music.

445
00:29:39,360 --> 00:29:40,920
To the writer,
Anaïs Nin,

446
00:29:40,960 --> 00:29:47,120
it sounded like a molecule
had stubbed its toe.

447
00:29:47,160 --> 00:29:51,200
- [Bebe]: And we started
working on avant-garde films.

448
00:29:51,240 --> 00:29:53,160
That's what this
was all about,

449
00:29:53,200 --> 00:29:54,840
was the avant-garde.

450
00:30:00,280 --> 00:30:06,480
[Mysterious,
space-like music]

451
00:30:06,600 --> 00:30:10,440
The sense of wonder and awe,

452
00:30:10,480 --> 00:30:12,280
the beauty coming
from the circuits.

453
00:30:12,320 --> 00:30:17,280
I mean we would just sit back
and let them take over.

454
00:30:18,400 --> 00:30:27,600
[Deep roars and descending,
spinning tones]

455
00:30:27,640 --> 00:30:31,280
- [Louis]: These circuits
are not instruments.

456
00:30:31,320 --> 00:30:33,960
They are performance.

457
00:30:34,000 --> 00:30:35,320
- [Bebe]: We would record

458
00:30:35,360 --> 00:30:39,280
everything that
came out of the circuits.

459
00:30:39,320 --> 00:30:42,200
I spent hours and
hours and hours

460
00:30:42,240 --> 00:30:43,680
listening to all that stuff.

461
00:30:43,720 --> 00:30:44,560
- [Louis]: Oh yeah.

462
00:30:44,600 --> 00:30:46,200
Well, later you
went through-

463
00:30:46,240 --> 00:30:47,200
- [Bebe]: Days!

464
00:30:47,240 --> 00:30:49,000
- [Louis]: Miles of tape.
- [Bebe]: Yeah.

465
00:30:49,040 --> 00:30:52,320
- [Louis]: Incredible, and she could
hold it in her memory.

466
00:30:52,360 --> 00:30:55,560
She could remember where to
go for a certain feeling

467
00:30:55,600 --> 00:30:57,680
in the sound.

468
00:30:57,720 --> 00:30:59,960
[Sounds resembling sirens]

469
00:31:00,000 --> 00:31:03,160
- Bebe had a formal
musical education.

470
00:31:03,200 --> 00:31:06,160
She made most of the
compositional decisions

471
00:31:06,200 --> 00:31:12,440
while Louis dealt more with
the technical side of things.

472
00:31:12,760 --> 00:31:15,160
The Barrons'
greatest achievement

473
00:31:15,200 --> 00:31:17,920
was with the music for
Forbidden Planet.

474
00:31:17,960 --> 00:31:19,080
[Spinning high-pitched tones]

475
00:31:19,120 --> 00:31:23,080
It was the first movie with
an all-electronic score.

476
00:31:23,120 --> 00:31:26,080
[Whale-like moaning]

477
00:31:26,320 --> 00:31:30,080
- The pride and joy of
that period was in coming up

478
00:31:30,120 --> 00:31:32,360
with the music
for the monster.

479
00:31:32,400 --> 00:31:36,200
[Descending, spinning tone
meets an ascending moan]

480
00:31:36,240 --> 00:31:38,880
We were just
beside ourselves.

481
00:31:38,920 --> 00:31:42,680
Suddenly, this circuit
started generating

482
00:31:42,720 --> 00:31:47,560
the most complex sounds.

483
00:31:47,600 --> 00:31:53,920
The dying of Morbius was the
actual dying of the circuit.

484
00:31:53,960 --> 00:31:55,920
[Deep moaning]

485
00:31:55,960 --> 00:32:02,000
[Harsh, distressed
screeching]

486
00:32:02,040 --> 00:32:14,280
[Screeching getting
higher and higher]

487
00:32:14,320 --> 00:32:19,520
[Tones descend into silence]

488
00:32:19,560 --> 00:32:25,760
[Bubbling sounds]

489
00:32:25,800 --> 00:32:27,600
- [Louis]: We would
have a credit that said,

490
00:32:27,640 --> 00:32:31,240
"Electronic music by
Louis and Bebe Barron."

491
00:32:31,280 --> 00:32:33,960
But a memo was circulated
among the executives.

492
00:32:34,000 --> 00:32:36,240
How would the American
Federation of Musicians

493
00:32:36,280 --> 00:32:40,560
respond to a credit that
says electronic music?

494
00:32:41,840 --> 00:32:44,160
- The Musicians' Union would not

495
00:32:44,200 --> 00:32:49,000
allow the soundtrack
to be considered music.

496
00:32:49,040 --> 00:32:51,520
[Haunting, spinning tones
sprinkled with bubbling sounds]

497
00:32:51,560 --> 00:32:54,320
They were afraid that someday
their jobs would be replaced

498
00:32:54,360 --> 00:32:57,920
by machines and so they
would have none of it.

499
00:32:58,760 --> 00:33:02,560
That's why it's credited
as "electronic tonalities."

500
00:33:02,600 --> 00:33:07,200
[Deep, haunting sounds]

501
00:33:07,240 --> 00:33:09,920
- [Bebe]: It was so awful.

502
00:33:09,960 --> 00:33:16,480
We were barely
acknowledged as composers.

503
00:33:16,520 --> 00:33:19,280
[Harsh, metallic
swell of sound]

504
00:33:19,320 --> 00:33:22,480
[Rhythmic,
determined melody]

505
00:33:25,880 --> 00:33:32,480
[Sweeping whoosh of air]

506
00:33:32,520 --> 00:33:42,360
[Mysterious space-like
melody]

507
00:33:42,760 --> 00:33:44,280
- Prior to Dr. Who,

508
00:33:44,320 --> 00:33:49,280
there's a lot of distaste
of electronic music.

509
00:33:49,320 --> 00:33:52,280
Delia's music is
absolutely crucial

510
00:33:52,320 --> 00:33:54,760
in changing
that perception.

511
00:33:54,800 --> 00:33:56,440
[Mysterious,
reverberating tones]

512
00:33:56,480 --> 00:33:59,000
- [Woman]: It's like a
lighthouse, isn't it?

513
00:33:59,040 --> 00:34:01,160
I wonder what it's like up
there in a thunderstorm.

514
00:34:01,200 --> 00:34:03,760
Think of being up there
on a starry night,

515
00:34:03,800 --> 00:34:06,240
with all the world
at your feet.

516
00:34:06,280 --> 00:34:08,280
- You get people
who are writing in

517
00:34:08,320 --> 00:34:09,320
saying, "What is this?"

518
00:34:09,360 --> 00:34:11,320
"How is it made?"

519
00:34:11,360 --> 00:34:13,720
- Imagine what life must
have been like

520
00:34:13,760 --> 00:34:16,040
before samplers,
before synthesizers,

521
00:34:16,080 --> 00:34:18,760
before sequencers?

522
00:34:18,800 --> 00:34:21,280
It took her 40 days to make
the Doctor Who theme.

523
00:34:21,320 --> 00:34:23,720
40 days.

524
00:34:27,240 --> 00:34:30,240
- She would sample
a green lamp shade,

525
00:34:30,280 --> 00:34:33,240
speed it up,
reverse it,

526
00:34:33,280 --> 00:34:36,200
and just completely changed
the nature of the sound.

527
00:34:36,240 --> 00:34:38,520
[Bell chiming]

528
00:34:38,560 --> 00:34:41,520
[Sustained,
warm bell tones]

529
00:34:41,560 --> 00:34:45,520
[Birds chirping]

530
00:34:45,560 --> 00:34:47,840
- This was a
documentary program

531
00:34:47,880 --> 00:34:52,000
about the Tuareg tribe,

532
00:34:52,040 --> 00:34:57,160
the Tuareg tribe of nomads
in the Sahara desert.

533
00:34:57,200 --> 00:35:00,560
In the piece,
I tried to convey

534
00:35:00,600 --> 00:35:06,280
the distance of the horizon
and the heat haze,

535
00:35:06,320 --> 00:35:11,280
the strand of camels
wandering across the desert.

536
00:35:11,320 --> 00:35:14,200
That, in fact, was made
from square waves

537
00:35:14,240 --> 00:35:18,280
put through every filter
I could possibly find.

538
00:35:18,320 --> 00:35:35,280
[Harsh sustained tones over
warm, swelling bell tones]

539
00:35:37,520 --> 00:35:40,240
- [Barry performing]:
There must be a god.

540
00:35:40,800 --> 00:35:41,560
Oh, yes.

541
00:35:41,600 --> 00:35:49,160
[Ethereal, layered
choral chanting]

542
00:35:49,200 --> 00:35:51,280
Delia Derbyshire created

543
00:35:51,320 --> 00:35:53,200
some very, very
beautiful things

544
00:35:53,240 --> 00:35:54,160
and some things that had

545
00:35:54,200 --> 00:35:56,440
a very strange and
unearthly quality

546
00:35:56,480 --> 00:35:59,680
that couldn't quite be got, I think,
by normal musical means

547
00:35:59,720 --> 00:36:01,360
and yet didn't
sound as if

548
00:36:01,400 --> 00:36:03,360
they were electronically
manufactured.

549
00:36:03,400 --> 00:36:09,920
[Ethereal choral
chanting continues]

550
00:36:09,960 --> 00:36:14,520
- Some of it was
worked out mathematically.

551
00:36:14,560 --> 00:36:16,320
[Repeated beeping tones]

552
00:36:16,360 --> 00:36:18,320
I've tried to get into it

553
00:36:18,360 --> 00:36:24,720
a feeling of simplicity
and loneliness,

554
00:36:24,760 --> 00:36:26,720
of a man on a moon.

555
00:36:26,760 --> 00:36:37,240
[Ethereal,
sliding melody]

556
00:36:37,280 --> 00:36:39,960
- [Neil Armstrong]: That's
one small step for man,

557
00:36:41,080 --> 00:36:45,320
one giant leap
for mankind.

558
00:36:48,160 --> 00:36:49,840
- [Mandy]: She created
a kind of pathway

559
00:36:49,880 --> 00:36:52,240
for electronic music.

560
00:36:52,280 --> 00:36:53,520
- [Delia]: I did all
sorts of things

561
00:36:53,560 --> 00:36:55,560
I was told I couldn't do.

562
00:36:55,600 --> 00:37:00,760
I think I've always been a
very independent thinker.

563
00:37:04,200 --> 00:37:05,560
[Ethereal, sliding
melody ends]

564
00:37:05,600 --> 00:37:08,560
[Bomb exploding]

565
00:37:08,600 --> 00:37:23,960
[Rumbling sound
expands, then fades]

566
00:37:24,000 --> 00:37:25,280
- [Female Narrator]: While
the work of women

567
00:37:25,320 --> 00:37:27,240
like Delia and Daphne

568
00:37:27,280 --> 00:37:30,040
came from the deafening
sounds of wartime,

569
00:37:30,080 --> 00:37:33,200
it was the chilling silence
of the Cold War

570
00:37:33,240 --> 00:37:40,200
that took others to
the limits of listening.

571
00:37:40,240 --> 00:37:42,240
- The bomb scare psychology

572
00:37:42,280 --> 00:37:44,160
that was inculcated,

573
00:37:44,200 --> 00:37:46,240
that had a big
effect on the artists

574
00:37:46,280 --> 00:37:48,600
that were emerging
at that time.

575
00:37:48,640 --> 00:37:53,720
[Upbeat guitar music]

576
00:37:53,760 --> 00:37:57,240
Everybody was pushing
for opening things up,

577
00:37:57,280 --> 00:38:00,480
a kind of way through
all the terrible stuff

578
00:38:00,520 --> 00:38:02,200
that was going on in
the world at the time.

579
00:38:02,240 --> 00:38:04,480
So there was a lot of
political motivation behind

580
00:38:04,520 --> 00:38:05,800
what we were doing.

581
00:38:05,840 --> 00:38:06,800
- [Protestors] Peace now!

582
00:38:06,840 --> 00:38:09,000
Peace now!
Peace now!

583
00:38:09,040 --> 00:38:11,280
[Crowd cheering]

584
00:38:12,280 --> 00:38:13,480
- [David Rosenboom]: The
effect was to say,

585
00:38:13,520 --> 00:38:16,800
okay, we've got
to break through

586
00:38:16,840 --> 00:38:20,000
anything that was rigid,
anything that was limiting,

587
00:38:20,040 --> 00:38:22,680
and try to move
things forward.

588
00:38:22,720 --> 00:38:30,160
[Space-like, harsh,
high-pitched tones]

589
00:38:30,200 --> 00:38:31,600
- The music scene

590
00:38:31,640 --> 00:38:35,280
was evolving into
an area that was

591
00:38:35,320 --> 00:38:38,760
very fresh and exciting.

592
00:38:38,800 --> 00:38:42,800
[Screaming,
elongated tones]

593
00:38:42,840 --> 00:38:45,200
First time I heard
live electronic music

594
00:38:45,240 --> 00:38:47,160
was early '60s.

595
00:38:47,200 --> 00:38:50,200
Pauline was on stage
with an accordion.

596
00:38:50,240 --> 00:38:53,160
The room was exploding with a
sound that was ear-splitting.

597
00:38:53,200 --> 00:38:57,680
I had never experienced
that kind of volume before.

598
00:38:57,720 --> 00:39:11,160
[Piercing, screaming tones
ascending and descending]

599
00:39:11,200 --> 00:39:11,960
- [Pauline Oliveros]:
I can't remember

600
00:39:12,000 --> 00:39:15,160
when I wasn't
interested in sounds.

601
00:39:15,200 --> 00:39:19,920
I remember particularly
things like riding in the car

602
00:39:19,960 --> 00:39:23,000
with my parents for instance,
maybe in the backseat,

603
00:39:23,040 --> 00:39:25,280
listening to the sound
of the motor

604
00:39:25,320 --> 00:39:28,680
and listening to the sound
of my parents' voices

605
00:39:28,720 --> 00:39:30,280
being modulated by the motor.

606
00:39:30,320 --> 00:39:33,680
[Muffled conversation]

607
00:39:33,720 --> 00:39:36,680
Listening to my father
turn his shortwave radio,

608
00:39:36,720 --> 00:39:40,160
listening to the whistles
and pops and static.

609
00:39:40,200 --> 00:39:41,800
I mean, I was
always fascinated with

610
00:39:41,840 --> 00:39:44,800
the in-between sounds
in the stations,

611
00:39:44,840 --> 00:39:46,160
just tuning in between.

612
00:39:46,200 --> 00:39:47,440
I loved that.

613
00:39:47,480 --> 00:39:51,320
[Radio tuning]

614
00:39:51,360 --> 00:39:54,320
I credit my mother.

615
00:39:54,360 --> 00:39:56,160
For my birthday, she
sent me a tape recorder,

616
00:39:56,200 --> 00:39:58,800
and that was a very
significant event

617
00:39:58,840 --> 00:40:01,440
because nobody had
tape recorders, you know.

618
00:40:01,480 --> 00:40:03,160
It was in the 50s.

619
00:40:03,200 --> 00:40:09,480
[Relaxed, marching
dance music]

620
00:40:09,520 --> 00:40:13,800
I began to do field recording
from my apartment window.

621
00:40:13,840 --> 00:40:17,720
[High-pitched screeching tones
Trolley bell ringing]

622
00:40:17,760 --> 00:40:21,320
And then in 1959
got started making

623
00:40:21,360 --> 00:40:24,040
a tape piece called
Time Perspectives.

624
00:40:24,080 --> 00:40:25,240
[Wind chimes ringing]

625
00:40:27,120 --> 00:40:38,280
[Hollow object sliding
on a surface]

626
00:40:38,320 --> 00:40:41,200
The tape recorder that I had,
it was possible to record

627
00:40:41,240 --> 00:40:45,280
by hand winding the
tape in record mode.

628
00:40:45,320 --> 00:40:47,440
That gave me a variable
speed so I could do

629
00:40:47,480 --> 00:40:49,440
some interesting
things with that.

630
00:40:49,480 --> 00:40:51,280
[Bells continue ringing]

631
00:40:51,320 --> 00:40:54,200
[Sounds resembling
birds cawing]

632
00:40:54,240 --> 00:40:57,360
And I used the bathtub for
reverberation [chuckles]

633
00:40:57,400 --> 00:41:01,760
and cardboard tubes as filters.

634
00:41:01,800 --> 00:41:04,320
I'd put microphones in the
tube and then record sounds

635
00:41:04,360 --> 00:41:05,720
through the tube.

636
00:41:05,760 --> 00:41:13,040
[Hollow sound of
water gurgling]

637
00:41:13,080 --> 00:41:17,280
[Airy wash of sound]

638
00:41:19,280 --> 00:41:21,160
[Sustained accordion chord]

639
00:41:21,200 --> 00:41:23,320
[Object dropping]

640
00:41:28,000 --> 00:41:30,240
Eventually, I met up
with a group of people

641
00:41:30,280 --> 00:41:32,280
who were interested
in new music,

642
00:41:32,320 --> 00:41:34,520
[Haunting,
avant-garde music]

643
00:41:34,560 --> 00:41:36,200
which led to
the founding of

644
00:41:36,240 --> 00:41:39,280
the San Francisco
Tape Music Center.

645
00:41:42,280 --> 00:41:44,080
- The San Francisco
Tape Music Center

646
00:41:44,120 --> 00:41:47,160
was not associated
with an institution.

647
00:41:47,200 --> 00:41:50,240
So it was friends brought
together what equipment

648
00:41:50,280 --> 00:41:53,200
they had to share.

649
00:41:55,240 --> 00:41:57,240
- Our sense of what
we were doing

650
00:41:57,280 --> 00:42:01,360
at that point was opening
a place where poets,

651
00:42:01,400 --> 00:42:06,080
painters, film, and
electronic or tape music,

652
00:42:06,120 --> 00:42:07,360
where all this stuff
could be done.

653
00:42:07,400 --> 00:42:09,720
[Echoing,
haunting sounds]

654
00:42:09,760 --> 00:42:11,520
It was a sense
of individuality.

655
00:42:11,560 --> 00:42:13,840
Nobody wanted to
be like anyone else

656
00:42:13,880 --> 00:42:16,080
and everybody was
very supportive

657
00:42:16,120 --> 00:42:19,200
of what everybody
else was doing.

658
00:42:22,360 --> 00:42:25,760
- My interest was always
in live performance

659
00:42:25,800 --> 00:42:29,280
and I started to find out
ways to use tape recorders

660
00:42:29,320 --> 00:42:33,160
and perform live with them,
and that was making

661
00:42:33,200 --> 00:42:35,280
a tape delay system,
which allows me

662
00:42:35,320 --> 00:42:38,760
to maintain that physical
contact with the sound.

663
00:42:38,800 --> 00:42:42,280
[Screeching,
high-pitched tone]

664
00:42:42,520 --> 00:43:19,520
[Classical choral music
begins as tone continues]

665
00:43:19,880 --> 00:43:21,520
- [Female Narrator]: How do
you exercise the canon of

666
00:43:21,560 --> 00:43:25,760
classical music of misogyny

667
00:43:25,800 --> 00:43:29,800
with two oscillators,
a turntable, and tape delay?

668
00:43:34,360 --> 00:43:35,800
- Feminism was at the center

669
00:43:35,840 --> 00:43:36,760
of what she was doing,

670
00:43:36,800 --> 00:43:39,360
and it's strange because it
seems like if the boys' club

671
00:43:39,400 --> 00:43:42,200
is going to pick a token
woman, you would not pick

672
00:43:42,240 --> 00:43:45,320
a woman who is
that outspoken.

673
00:43:45,360 --> 00:43:48,600
[Drone-like tone]

674
00:43:48,840 --> 00:43:50,760
- Pauline was conscious
of the fact that

675
00:43:50,800 --> 00:43:52,280
she was different.

676
00:43:52,320 --> 00:43:55,200
She had a streak of
a revolutionary in her.

677
00:43:59,200 --> 00:44:00,920
- Pauline, it was hard,
you know,

678
00:44:00,960 --> 00:44:02,240
she had come
out in the 50s

679
00:44:02,280 --> 00:44:06,200
and here she was
a woman, gay,

680
00:44:06,240 --> 00:44:08,240
avant-garde music,

681
00:44:08,280 --> 00:44:10,720
each thing by itself
would be hard,

682
00:44:10,760 --> 00:44:12,440
but she had three
things that were hard

683
00:44:12,480 --> 00:44:13,840
and women composers

684
00:44:13,880 --> 00:44:15,920
were not being
performed, you know.

685
00:44:15,960 --> 00:44:22,160
[Choral voices emerge
over the drone-like tone]

686
00:44:22,200 --> 00:44:23,520
- [Male Interviewer]: You
wrote an editorial

687
00:44:23,560 --> 00:44:25,240
to the New York Times
once called

688
00:44:25,280 --> 00:44:26,440
"Don't Call Them
'Lady' Composers"

689
00:44:26,480 --> 00:44:27,840
- [Pauline]: That's right.
- Tell us about

690
00:44:27,880 --> 00:44:29,760
when you wrote
that and why.

691
00:44:29,800 --> 00:44:32,440
- [Pauline]: I just want to be
introduced as a composer.

692
00:44:32,480 --> 00:44:35,160
That has caused me
to use that title

693
00:44:35,200 --> 00:44:37,160
and to start
to point out

694
00:44:37,200 --> 00:44:40,320
how hard it was for women
to be taken seriously

695
00:44:40,360 --> 00:44:43,160
as creators of music.

696
00:44:43,200 --> 00:45:11,240
[Drone-like and choral
tones continue]

697
00:45:11,280 --> 00:45:15,960
- [Female Narrator]: Go
out walking at night.

698
00:45:16,000 --> 00:45:22,200
Tread so quietly the bottoms
of your feet become ears.

699
00:45:22,240 --> 00:45:25,000
Working with an
all-women ensemble,

700
00:45:25,040 --> 00:45:27,200
instructions like these were
intended to encourage

701
00:45:27,240 --> 00:45:29,000
deep listening.

702
00:45:29,040 --> 00:45:35,280
[Drone-like tone continues]

703
00:45:35,320 --> 00:45:46,280
[Long tones
resembling brass]

704
00:45:46,320 --> 00:45:47,280
- [Pauline]: I was alarmed

705
00:45:47,320 --> 00:45:48,920
as many were,
of course,

706
00:45:48,960 --> 00:45:51,320
with the Vietnam War,

707
00:45:51,360 --> 00:45:55,040
and I began to seek some ways
of working with sound

708
00:45:55,080 --> 00:46:00,200
that I could discover more
of a kind of inner peace.

709
00:46:02,320 --> 00:46:10,240
[Drone-like and brass
tones continue]

710
00:46:10,280 --> 00:46:14,280
I found myself listening
to long sounds

711
00:46:14,320 --> 00:46:16,560
and becoming more
interested in

712
00:46:16,600 --> 00:46:18,840
what the sounds
did themselves

713
00:46:18,880 --> 00:46:22,480
than what I would
do with them.

714
00:46:22,520 --> 00:46:27,240
And as this work proceeded,

715
00:46:27,280 --> 00:46:31,200
I began to become interested
in what the kind of listening

716
00:46:31,240 --> 00:46:38,160
I was doing did to me and my
own internal processes.

717
00:46:38,200 --> 00:46:42,760
[Drone-like tones continue]

718
00:46:42,800 --> 00:46:45,440
[Brass tones
sing gently]

719
00:46:45,480 --> 00:46:46,440
- [Female Interviewer]:
Does it have

720
00:46:46,480 --> 00:46:49,080
social and political
implications to you,

721
00:46:49,120 --> 00:46:50,600
the kind of music
that you write?

722
00:46:50,640 --> 00:46:52,040
- Oh, yes.

723
00:46:52,080 --> 00:46:57,440
Well, I feel that
one's interactions,

724
00:46:57,720 --> 00:47:01,760
the way one relates in an
organization of any kind,

725
00:47:01,800 --> 00:47:07,720
is political and social
and very important.

726
00:47:07,760 --> 00:47:11,360
The path that I hope to be on
is one where the energy

727
00:47:11,400 --> 00:47:16,600
that comes out of the work
that I do is beneficial

728
00:47:16,640 --> 00:47:18,320
to others as
well as myself.

729
00:47:18,360 --> 00:47:21,840
I want my work to be
mutually beneficial.

730
00:47:21,880 --> 00:47:23,240
I'm not interested in

731
00:47:23,280 --> 00:47:26,560
making an object of
art and entertainment.

732
00:47:26,600 --> 00:47:29,280
I'm interested in making
something that helps me

733
00:47:29,320 --> 00:47:32,800
to grow and expand and
change as an individual

734
00:47:33,960 --> 00:47:37,160
and in relation
to others.

735
00:47:37,200 --> 00:47:48,040
[Warm, layered
brass tones]

736
00:47:50,240 --> 00:47:52,000
- [Female Narrator]: Pauline's
preoccupation with

737
00:47:52,040 --> 00:47:53,200
how we hear and feel

738
00:47:53,240 --> 00:47:55,600
the sounds within
and around us

739
00:47:55,640 --> 00:47:59,280
were shared by
Maryanne Amacher at MIT,

740
00:47:59,320 --> 00:48:01,480
who was sounding
out the city.

741
00:48:01,520 --> 00:48:07,320
[Fluttering
high-pitched sounds]

742
00:48:07,360 --> 00:48:13,560
[Seagulls cawing]

743
00:48:13,600 --> 00:48:15,240
- I had installed a
microphone

744
00:48:15,280 --> 00:48:19,320
in eight locations at
the Boston Harbour

745
00:48:19,360 --> 00:48:22,240
in the New England
Fish Exchange

746
00:48:22,280 --> 00:48:26,200
connected to
telephone links.

747
00:48:28,360 --> 00:48:30,200
It was very nice to
come in late at night

748
00:48:30,240 --> 00:48:31,360
at 1:00 in the morning

749
00:48:31,400 --> 00:48:34,760
and just turn on the
mixer and have the sound

750
00:48:34,800 --> 00:48:38,720
coming from the distant
night when I liked it best

751
00:48:38,760 --> 00:48:41,360
because I could hear
patterns in various shapes.

752
00:48:41,400 --> 00:48:44,240
[Seagulls cawing]

753
00:48:44,280 --> 00:48:47,320
[Fluttering high-pitched
sounds continue]

754
00:48:47,360 --> 00:48:50,800
I realized, my, there's
a tone of this place.

755
00:48:50,840 --> 00:48:52,800
There's a whole undercurrent
that exists here

756
00:48:52,840 --> 00:48:57,200
that makes this
recognisable in some way.

757
00:48:57,240 --> 00:48:59,320
It wasn't hard to
analyse it in Boston.

758
00:48:59,360 --> 00:49:02,160
It was like a low F sharp.

759
00:49:02,200 --> 00:49:04,240
Then other places,
for example, New York,

760
00:49:04,280 --> 00:49:05,960
it was like a low E.

761
00:49:06,000 --> 00:49:10,960
[Subway train clattering]

762
00:49:11,000 --> 00:49:13,560
It wasn't that I wanted
the sounds of the birds

763
00:49:13,600 --> 00:49:16,480
or the sounds of the harbour
or any of these sounds,

764
00:49:16,520 --> 00:49:21,480
I really wanted to experience
and learn about hearing.

765
00:49:21,520 --> 00:49:26,040
[Pleasant harmony of tones]

766
00:49:26,080 --> 00:49:27,040
- [Male Interviewer]:
When people say to you,

767
00:49:27,080 --> 00:49:28,000
"Yeah, but is it music?"

768
00:49:28,040 --> 00:49:29,320
After you say,
"Yes it is,"

769
00:49:29,360 --> 00:49:31,160
how do you
expand on that?

770
00:49:31,200 --> 00:49:32,320
- [Maryanne]: Well,
I think that's sort of

771
00:49:32,360 --> 00:49:34,080
an old question
[chuckles].

772
00:49:34,120 --> 00:49:36,760
Much of our music, classical
pop, has this beat,

773
00:49:36,800 --> 00:49:39,280
has this gallop,
has this trot.

774
00:49:39,320 --> 00:49:44,480
I'm interested in music that
communicates some ideas,

775
00:49:46,480 --> 00:49:49,240
finding places where there is
space and dimension

776
00:49:49,280 --> 00:49:50,560
to the sound,

777
00:49:50,600 --> 00:49:54,000
sounds very very far away
and very close up.

778
00:49:54,040 --> 00:49:58,400
[Deep, airy sounds]

779
00:49:58,560 --> 00:50:00,840
- Maryanne was really
interested in

780
00:50:00,880 --> 00:50:02,520
contemporary science.

781
00:50:02,560 --> 00:50:05,200
She had been very interested
in muon research,

782
00:50:05,240 --> 00:50:08,360
these particles that speed
through the universe.

783
00:50:09,240 --> 00:50:12,200
- She was constantly
thinking about

784
00:50:12,240 --> 00:50:17,480
intersections of science,
life, and sound.

785
00:50:17,520 --> 00:50:22,800
[Airy and metallic,
droning sounds]

786
00:50:22,840 --> 00:50:24,720
- Her house
was incredible.

787
00:50:24,760 --> 00:50:29,760
It was in breathtakingly
bad condition.

788
00:50:29,800 --> 00:50:31,080
There was this
whole rack

789
00:50:31,120 --> 00:50:33,280
full of these sine
wave oscillators

790
00:50:33,320 --> 00:50:38,080
straight out of
a physics lab.

791
00:50:38,120 --> 00:50:39,320
And there's this
woman sitting there

792
00:50:39,360 --> 00:50:43,000
with this really intense,
buzzy energy.

793
00:50:43,040 --> 00:50:46,280
[Quivering metallic sounds]

794
00:50:46,320 --> 00:50:49,200
- She'd have a
rock-and-roll attitude

795
00:50:49,240 --> 00:50:51,280
towards, "I'm going to
make this whole house

796
00:50:51,320 --> 00:50:55,240
"vibrate and come alive."

797
00:50:55,280 --> 00:51:19,240
[Metallic sounds intensify
and rumble]

798
00:51:24,880 --> 00:51:28,160
- She wanted to
develop an extremely

799
00:51:28,200 --> 00:51:30,520
rigorous approach
to listening,

800
00:51:30,560 --> 00:51:32,840
[Low, constant tone
subtly shifting in quality]

801
00:51:32,880 --> 00:51:35,240
to activating sights,

802
00:51:35,280 --> 00:51:40,360
to thinking outside of
composition as it's known.

803
00:51:43,320 --> 00:51:44,960
She didn't want
to push around

804
00:51:45,000 --> 00:51:48,320
dead white men's notes.

805
00:51:54,320 --> 00:51:58,080
- I wanted to
create music where

806
00:51:58,120 --> 00:52:00,360
the listener actually had

807
00:52:00,400 --> 00:52:05,280
vivid experiences
of contributing.

808
00:52:05,800 --> 00:52:09,040
In composing, I am
conscious of the tones

809
00:52:09,080 --> 00:52:12,320
that you make in
response to the tones

810
00:52:12,360 --> 00:52:14,240
that a musician plays.

811
00:52:14,280 --> 00:52:19,280
[Subtle, harsh violin
string sounds]

812
00:52:19,320 --> 00:52:20,480
- One of the phenomenon
she was

813
00:52:20,520 --> 00:52:23,160
most interested in was
otoacoustic emission.

814
00:52:23,200 --> 00:52:26,560
She referred to
them as ear tones.

815
00:52:26,600 --> 00:52:29,280
If you have two frequencies
and they sound together,

816
00:52:29,320 --> 00:52:32,200
the ear and the mind try
to sort of resolve them.

817
00:52:32,240 --> 00:52:36,240
There is an emergent
third pitch.

818
00:52:37,240 --> 00:52:39,840
She can compose these outer
things that will produce

819
00:52:39,880 --> 00:52:40,960
this inner thing.

820
00:52:41,000 --> 00:52:43,440
[low, constant tone
subtly shifting in quality]

821
00:52:43,480 --> 00:52:44,280
She would refer to it as

822
00:52:44,320 --> 00:52:47,560
ghost writing the
listener's music.

823
00:52:51,080 --> 00:52:53,280
- The first time one
encounters her music

824
00:52:53,320 --> 00:52:55,920
and the way that it
dances inside your ear

825
00:52:55,960 --> 00:52:58,600
is this light bulb moment.

826
00:52:58,640 --> 00:53:00,280
You can actually play with

827
00:53:00,320 --> 00:53:03,280
the physicality
of the listener.

828
00:53:03,320 --> 00:53:09,000
[Soft, harsh violin
string sounds]

829
00:53:09,040 --> 00:53:11,280
[Low tone continues]

830
00:53:11,320 --> 00:53:17,720
[Tones are replaced by a
constant high-pitched tone]

831
00:53:17,760 --> 00:53:19,280
- Merce Cunningham commissioned

832
00:53:19,320 --> 00:53:21,680
a piece from her.

833
00:53:21,720 --> 00:53:22,680
[Sustained, chant-like tones]

834
00:53:22,720 --> 00:53:25,000
You'd hear this
very high pitch.

835
00:53:25,040 --> 00:53:27,280
[High pitch and
low tones continue]

836
00:53:27,320 --> 00:53:29,280
And then there
would be thunder,

837
00:53:29,320 --> 00:53:30,600
[Thunder rumbling softly]

838
00:53:30,640 --> 00:53:34,680
beautiful thunder recorded
in stereoscopic sound

839
00:53:34,720 --> 00:53:36,200
that would shift across
the room.

840
00:53:36,240 --> 00:53:41,240
[Thunder rumbles swell]

841
00:53:41,280 --> 00:53:44,440
And when it hit, there
would be this array

842
00:53:44,480 --> 00:53:47,320
of other frequencies
that would happen.

843
00:53:47,360 --> 00:53:49,760
It was very very beautiful.

844
00:53:49,800 --> 00:54:22,440
[High pitch continues as
thunder waxes and wanes]

845
00:54:22,480 --> 00:54:24,200
- [Female Narrator]:
The idea of

846
00:54:24,240 --> 00:54:26,360
a slowly-evolving composition

847
00:54:26,400 --> 00:54:28,360
that alters the listener

848
00:54:28,400 --> 00:54:32,800
also fired the imagination
of Eliane Radigue.

849
00:54:36,120 --> 00:54:41,680
[Grunt-like prolonged tone]

850
00:54:41,880 --> 00:54:43,560
[Eliane speaking French]

851
00:54:50,560 --> 00:54:55,240
[Varied electronic beeps]

852
00:55:03,400 --> 00:55:10,640
[Man singing to
an upbeat rhythm]

853
00:55:22,280 --> 00:55:23,160
- When I met Eliane,

854
00:55:23,200 --> 00:55:26,800
she had been working with
the Buchla synthesizer,

855
00:55:26,840 --> 00:55:29,800
yet this piece that
she wrote, Chry-ptus,

856
00:55:29,840 --> 00:55:34,200
sounded nothing
like a Buchla.

857
00:55:34,240 --> 00:55:38,840
[Spinning low tone]

858
00:55:38,880 --> 00:55:42,240
[High, piercing
pitch emerges]

859
00:55:42,280 --> 00:55:48,640
[Phone ringing sound]

860
00:55:49,080 --> 00:55:51,040
[Eliane speaking French]

861
00:55:56,320 --> 00:55:58,560
[Medium-pitched,
spinning tone]

862
00:56:17,640 --> 00:56:19,240
- We're talking
with Eliane Radigue

863
00:56:19,280 --> 00:56:21,600
who's here from Paris.

864
00:56:21,640 --> 00:56:23,280
Are you working with
both synthesisers

865
00:56:23,320 --> 00:56:25,560
and tape recording
processes?

866
00:56:25,600 --> 00:56:29,280
- [Eliane]: Yes,
the ARP synthesiser

867
00:56:29,320 --> 00:56:35,160
and the tape recorder.

868
00:56:35,200 --> 00:56:38,160
My main involvement with
music is to work on

869
00:56:38,200 --> 00:56:41,760
slow changing
of the sounds.

870
00:56:41,800 --> 00:56:42,440
- [Charles]: So in a way,

871
00:56:42,480 --> 00:56:44,360
you're working with time?

872
00:56:44,400 --> 00:56:47,320
- [Eliane]: Yes,
my last work, Adnos II,

873
00:56:47,360 --> 00:56:51,320
is 75 minutes long,
and it couldn't be shorter.

874
00:56:51,360 --> 00:56:54,440
It just goes like a stream.

875
00:56:54,480 --> 00:57:04,200
[Constant tone slightly
pulsates rhythmically]

876
00:57:04,240 --> 00:57:11,720
[A dissonant tone emerges]

877
00:57:11,760 --> 00:57:13,360
I should say that
this music I make

878
00:57:13,400 --> 00:57:14,760
is not so much welcome,

879
00:57:14,800 --> 00:57:17,440
except by a few
people, of course.

880
00:57:17,480 --> 00:57:19,160
There is nothing in between.

881
00:57:19,200 --> 00:57:21,560
People likes it,
or not at all.

882
00:57:21,600 --> 00:57:23,040
For the music establishment,

883
00:57:23,080 --> 00:57:25,320
they think that I
don't make music.

884
00:57:25,360 --> 00:57:27,520
That's not music.

885
00:57:27,560 --> 00:57:30,080
- [Charles] Oh, still arguing
about that, are we?

886
00:57:30,120 --> 00:57:32,520
[Eliane laughs]

887
00:57:33,200 --> 00:57:36,280
- Our music was meant
to be listened to

888
00:57:36,320 --> 00:57:38,320
in a different way than
how you'd listen to, like,

889
00:57:38,360 --> 00:57:41,160
a pop song.

890
00:57:41,200 --> 00:57:43,440
In a pop song
you're listening for

891
00:57:43,480 --> 00:57:45,800
melodies, harmonies, lyrics.

892
00:57:45,840 --> 00:57:48,440
In her music, you're
listening not just

893
00:57:48,480 --> 00:57:51,160
for the things that are
changing in the sound,

894
00:57:51,200 --> 00:57:53,160
but for the way
that the experience

895
00:57:53,200 --> 00:57:55,760
is changing your disposition.

896
00:57:55,800 --> 00:58:08,480
[Two main spinning tones]

897
00:58:08,520 --> 00:58:16,240
[Spinning gets more rapid]

898
00:58:16,280 --> 00:58:25,520
[Spinning slows, causing
the two tones to alternate]

899
00:58:32,120 --> 00:58:34,760
[Speaking French]

900
00:58:41,760 --> 00:58:43,800
[Man speaking French]

901
00:59:06,800 --> 00:59:08,680
[Dramatic whoosh of sound]

902
00:59:08,720 --> 00:59:19,160
[Baroque-like
electronic melody]

903
00:59:19,200 --> 00:59:21,360
[Man speaking French]

904
00:59:34,240 --> 00:59:37,520
[Piano notes playing]

905
00:59:37,560 --> 00:59:39,200
- [Wendy Carlos]: I'll
make it start very dull

906
00:59:39,240 --> 00:59:41,520
and then get very
bright like that.

907
00:59:41,560 --> 00:59:43,840
It sounds more like
a trumpet sound.

908
00:59:43,880 --> 00:59:49,160
[Brass-like synthesizer
notes playing]

909
00:59:49,240 --> 00:59:51,680
[Man speaking French]

910
00:59:55,320 --> 00:59:58,320
[Experimenting with
brass-like notes]

911
00:59:58,360 --> 01:00:00,280
And I'll add a little echo.

912
01:00:00,320 --> 01:00:01,560
[Brass-like notes become
more sustained]

913
01:00:01,600 --> 01:00:03,480
[Rapid baroque music]

914
01:00:03,520 --> 01:00:06,240
- The transgressive act of

915
01:00:06,280 --> 01:00:11,160
recontextualizing these classic
Western art music tropes,

916
01:00:11,200 --> 01:00:20,280
that takes a lot of strength,
humour, and vision.

917
01:00:20,320 --> 01:00:21,560
- [Suzanne]: Up until
that moment,

918
01:00:21,600 --> 01:00:23,560
electronic music
had this promise

919
01:00:23,600 --> 01:00:26,200
of a different vocabulary,
a different language,

920
01:00:26,240 --> 01:00:31,760
a new paradigm,
a new way of working.

921
01:00:31,800 --> 01:00:34,160
Switched-On Bach,
the way it impacted

922
01:00:34,200 --> 01:00:40,280
the public's consciousness
of what a synthesiser was,

923
01:00:40,320 --> 01:00:42,280
was completely retroactive.

924
01:00:42,320 --> 01:00:44,240
[Bach piece playing
on synthesizer]

925
01:00:44,280 --> 01:00:48,200
Everybody thought that
these things were about

926
01:00:48,240 --> 01:00:53,240
replicating sounds.

927
01:00:53,280 --> 01:00:58,320
To me, electronic music wasn't
about making baroque music

928
01:00:58,360 --> 01:01:00,320
with new timbres.

929
01:01:00,360 --> 01:01:05,200
It was a different
kind of music.

930
01:01:05,240 --> 01:01:08,160
You just had the
Summer of Love.

931
01:01:08,200 --> 01:01:13,200
Everything we knew
was being thrown out,

932
01:01:13,240 --> 01:01:15,240
and it was a whole new world.

933
01:01:15,280 --> 01:01:17,600
Electronics were
part of that world.

934
01:01:17,640 --> 01:01:18,960
[Ascending and descending
scales of electronic tones]

935
01:01:19,000 --> 01:01:19,280
- What are they?

936
01:01:19,320 --> 01:01:22,040
- Oh, these are
patch cords.

937
01:01:22,080 --> 01:01:24,320
These are the things
that route the signal

938
01:01:24,360 --> 01:01:27,160
from one little module to
another to get the sound.

939
01:01:27,200 --> 01:01:30,840
You can patch it a lot of
different ways and the way

940
01:01:30,880 --> 01:01:33,760
you patch it will
determine what you get.

941
01:01:33,800 --> 01:01:37,280
It's like creating
an instrument.

942
01:01:37,320 --> 01:01:38,280
- [Woman Off-Camera]: Do you
know before you put them in

943
01:01:38,320 --> 01:01:39,760
what it's going
to sound like?

944
01:01:39,800 --> 01:01:42,240
- Well, you're always
going towards an idea.

945
01:01:42,280 --> 01:01:46,080
That's what makes you put the
patch cords in certain places.

946
01:01:46,120 --> 01:01:48,240
- [Suzanne]: Part of an
instrument is what it can do

947
01:01:48,280 --> 01:01:50,840
and part of it is
what you do to it.

948
01:01:50,880 --> 01:01:53,200
The other part of music of
course is the motion

949
01:01:53,240 --> 01:01:56,200
and the personal involvement
that a musician gives

950
01:01:56,240 --> 01:01:57,200
to his instrument,

951
01:01:57,240 --> 01:01:59,160
and that's something
that I happen to feel

952
01:01:59,200 --> 01:02:01,560
and have with
synthesisers.

953
01:02:01,600 --> 01:02:03,960
So I play the synthesiser
the same way

954
01:02:04,000 --> 01:02:08,480
somebody else would
play cello or violin.

955
01:02:08,520 --> 01:02:12,920
[Majestic melody begins
over the scales]

956
01:02:12,960 --> 01:02:15,280
- For a classically
trained pianist

957
01:02:15,320 --> 01:02:17,920
to turn her back
on a keyboard,

958
01:02:17,960 --> 01:02:19,200
she's crazy.

959
01:02:19,240 --> 01:02:21,320
It was like learning
a new language

960
01:02:21,360 --> 01:02:24,200
via the means of cutting
out your own tongue.

961
01:02:24,240 --> 01:02:25,680
- [Suzanne speaking as
harmonies mimic her voice]:

962
01:02:25,720 --> 01:02:27,040
Yeah, I can sing
out of tune

963
01:02:27,080 --> 01:02:28,280
and it'll still be in tune

964
01:02:28,320 --> 01:02:30,280
because it depends on
what I'm playing.

965
01:02:30,320 --> 01:02:33,080
This is all the pitch so you
don't have to really be able

966
01:02:33,120 --> 01:02:35,360
to sing to do this.

967
01:02:35,400 --> 01:02:37,360
So, it's great.
it's great.

968
01:02:37,400 --> 01:02:38,240
Hello, hello, hello.

969
01:02:38,280 --> 01:02:39,360
[Suzanne Narrating]:
I couldn't get a record deal

970
01:02:39,400 --> 01:02:40,680
because the record companies

971
01:02:40,720 --> 01:02:45,440
were not interested in a
woman who did not sing.

972
01:02:45,480 --> 01:02:49,200
Advertising wanted
to be on the edge.

973
01:02:49,240 --> 01:02:52,240
They were looking for
something different.

974
01:02:52,280 --> 01:02:54,360
I had total freedom.

975
01:02:54,400 --> 01:02:57,240
Nobody could tell
me what to do.

976
01:02:57,280 --> 01:02:58,360
They didn't know what I did.

977
01:02:58,400 --> 01:03:03,000
[Mysterious chiming music]

978
01:03:03,200 --> 01:03:07,360
[Electronic squeaky melody]

979
01:03:07,560 --> 01:03:09,160
- [Male Announcer]: The new
Clairol custom care

980
01:03:09,200 --> 01:03:10,720
coon brush.

981
01:03:10,760 --> 01:03:13,520
[Upbeat rock-like music]

982
01:03:13,560 --> 01:03:14,520
- [Male Announcer]:
Atari is going to

983
01:03:14,560 --> 01:03:15,560
turn your head around.

984
01:03:15,600 --> 01:03:16,560
[Exploding sound]

985
01:03:16,600 --> 01:03:17,960
- [Male Announcer]: Big
news from Covergirl.

986
01:03:18,000 --> 01:03:20,240
- There's a whole new
thick lash mascara.

987
01:03:20,280 --> 01:03:24,000
[Liquid pouring with
electronic bubbling sound]

988
01:03:24,040 --> 01:03:26,160
- The landscape that
she must have walked into

989
01:03:26,200 --> 01:03:28,160
must have been like
something from Mad Men.

990
01:03:28,200 --> 01:03:30,160
I remember Suzanne
telling me stories like

991
01:03:30,200 --> 01:03:32,240
she'd turn up
early to set up

992
01:03:32,280 --> 01:03:34,240
all the modular
gear in studios

993
01:03:34,280 --> 01:03:36,520
and a young engineer
would come in and go,

994
01:03:36,560 --> 01:03:37,720
"Which mic are you
going to sing on?"

995
01:03:37,760 --> 01:03:39,240
or, "What are you
going to sing for us?"

996
01:03:39,280 --> 01:03:40,080
Because those
stereotypes were

997
01:03:40,120 --> 01:03:42,360
so commonplace in
studios in those days.

998
01:03:42,400 --> 01:03:43,960
[Upbeat rock music]

999
01:03:44,000 --> 01:03:44,960
- [Suzanne speaking as
chords mirror her voice]:

1000
01:03:45,000 --> 01:03:47,240
Welcome to Xenon.

1001
01:03:47,280 --> 01:03:49,600
- More than anybody else,

1002
01:03:49,640 --> 01:03:55,240
she built a career out of
making weird music,

1003
01:03:55,280 --> 01:03:59,520
which is something I think
everybody aspires to.

1004
01:03:59,560 --> 01:04:01,240
She had her own company.

1005
01:04:01,280 --> 01:04:03,240
She was able to turn
her art into something

1006
01:04:03,280 --> 01:04:04,240
she can live on.

1007
01:04:04,280 --> 01:04:06,520
[Suzanne's sigh is mirrored
by a low electronic echo]

1008
01:04:06,560 --> 01:04:10,160
- [Suzanne with a low and
echoey voice]: Don't be afraid.

1009
01:04:10,200 --> 01:04:14,240
This is my almost male voice.

1010
01:04:14,280 --> 01:04:16,280
[Audience laughs and applauds]

1011
01:04:16,320 --> 01:04:18,240
- Make the thing
make noises for us.

1012
01:04:18,280 --> 01:04:19,000
- Okay, let's-

1013
01:04:19,040 --> 01:04:20,960
- Now first of all, why
do you have this stuff?

1014
01:04:21,000 --> 01:04:21,600
What do you do with this?

1015
01:04:21,640 --> 01:04:23,960
- Well, this is how
I make a living.

1016
01:04:24,000 --> 01:04:27,160
- But I mean, you don't
go door-to-door saying,

1017
01:04:27,200 --> 01:04:29,680
I'll make you sound goofy.

1018
01:04:29,720 --> 01:04:30,280
- Yeah, they call me.
they call me.

1019
01:04:30,320 --> 01:04:33,000
- They call you.

1020
01:04:33,040 --> 01:04:48,240
[Complex wash of
sound slowly ascends]

1021
01:04:48,280 --> 01:04:49,520
- [Suzanne] Should I stop?

1022
01:04:49,560 --> 01:04:52,920
- No, let it go for
about half an hour.

1023
01:04:52,960 --> 01:04:53,200
[Sound stops]

1024
01:04:53,240 --> 01:04:54,280
That's wonderful.

1025
01:04:54,320 --> 01:04:59,240
[Audience applauds]

1026
01:04:59,280 --> 01:05:01,320
- [Suzanne]: It was 1980.

1027
01:05:01,360 --> 01:05:02,480
I was hired to do a
Hollywood feature.

1028
01:05:02,520 --> 01:05:05,080
[Hollow, spinning sound
gets progressively higher]

1029
01:05:05,120 --> 01:05:07,240
It was a Lily Tomlin movie.

1030
01:05:07,280 --> 01:05:11,320
Lily was a woman, the
head of the production

1031
01:05:11,360 --> 01:05:14,040
at Universal was a woman.

1032
01:05:14,080 --> 01:05:16,200
So I had two women
in positions of power.

1033
01:05:16,240 --> 01:05:18,720
And guess what?
I got hired.

1034
01:05:18,760 --> 01:05:20,240
- Is that package for me?

1035
01:05:20,280 --> 01:05:22,720
- Mike, it's for me.

1036
01:05:22,760 --> 01:05:25,160
I didn't know I was
the first woman

1037
01:05:25,200 --> 01:05:29,160
to be hired to score a
major Hollywood feature,

1038
01:05:29,200 --> 01:05:33,360
and I didn't know that
it would be 14 years

1039
01:05:33,400 --> 01:05:35,240
until another
woman was hired.

1040
01:05:35,280 --> 01:05:37,920
[Hollow, spinning sound
gets progressively higher]

1041
01:05:37,960 --> 01:05:42,680
We are casualties of
a day-to-day system

1042
01:05:42,720 --> 01:05:46,200
that operates
without awareness

1043
01:05:46,240 --> 01:05:48,240
that we're even there.

1044
01:05:48,280 --> 01:05:50,240
♪ Galaxy glue ♪

1045
01:05:50,280 --> 01:05:56,240
♪ Life would go to pieces
without galaxy glue ♪

1046
01:05:56,280 --> 01:05:57,680
- [Laurie]: There weren't
any women composers

1047
01:05:57,720 --> 01:05:58,280
that I knew of.

1048
01:05:58,320 --> 01:06:00,000
I had never heard of one.

1049
01:06:00,040 --> 01:06:02,160
[Rapid percussive tones]

1050
01:06:02,200 --> 01:06:06,160
Composers were old
white dead men.

1051
01:06:06,200 --> 01:06:09,160
It was just not something
I ever thought of

1052
01:06:09,200 --> 01:06:12,080
as something I could do.

1053
01:06:12,120 --> 01:06:14,360
When they asked
me in high school,

1054
01:06:14,400 --> 01:06:16,280
"What would you like to
do with your life?"

1055
01:06:16,320 --> 01:06:18,280
I said, "I would
love to do music."

1056
01:06:18,320 --> 01:06:20,200
They said, "Totally
out of the question.

1057
01:06:20,240 --> 01:06:22,440
"You would have needed
to have music lessons

1058
01:06:22,480 --> 01:06:24,520
"all during your childhood."

1059
01:06:24,560 --> 01:06:27,760
So I did a degree
in social sciences,

1060
01:06:27,800 --> 01:06:32,560
but secretly I really always
wanted to do music.

1061
01:06:32,600 --> 01:06:35,560
After I got my bachelor's and
moved to New York,

1062
01:06:35,600 --> 01:06:37,000
I thought, I'm
going to regret it

1063
01:06:37,040 --> 01:06:42,320
for the rest of my life if
I don't give it a real try.

1064
01:06:42,360 --> 01:06:44,560
[Man singing a vocal warm-up]

1065
01:06:44,600 --> 01:06:47,960
I was taking ear training
and music at Juilliard

1066
01:06:48,000 --> 01:06:52,160
and happened to be in
Mike Czajkowski's class.

1067
01:06:52,200 --> 01:06:55,160
And he was working
with Mort Subotnick.

1068
01:06:55,200 --> 01:07:00,160
Mike dragged me down to
Mort's studio and it was like

1069
01:07:00,200 --> 01:07:02,800
music went from black
and white to color.

1070
01:07:02,840 --> 01:07:05,160
[Complex, drone-like
sound expands]

1071
01:07:05,200 --> 01:07:07,160
I fell in love with
electronic music.

1072
01:07:07,200 --> 01:07:09,280
It completely changed the
way I heard everything.

1073
01:07:09,320 --> 01:07:11,560
The sounds of the
traffic in the street

1074
01:07:11,600 --> 01:07:14,200
no longer sounded the same.

1075
01:07:16,600 --> 01:07:19,000
I always wanted to do
something in the arts

1076
01:07:19,040 --> 01:07:22,960
that had to do with the real,
authentic experience

1077
01:07:23,000 --> 01:07:25,520
of being alive,
in contrast to

1078
01:07:25,560 --> 01:07:29,480
the 1950s hypocritical
reality in which I lived,

1079
01:07:29,520 --> 01:07:32,200
in which everything
was glossed over

1080
01:07:32,240 --> 01:07:33,080
with cotton candy.

1081
01:07:33,120 --> 01:07:33,720
[Spoon banging]

1082
01:07:33,760 --> 01:07:36,280
[Upbeat, sweeping
classical music]

1083
01:07:36,320 --> 01:07:38,280
- A perfect dinner Judy.

1084
01:07:38,320 --> 01:07:40,280
And you said she
couldn't boil water

1085
01:07:40,320 --> 01:07:44,680
without burning it.

1086
01:07:44,720 --> 01:07:47,200
- [Laurie]: I got involved in
the downtown art scene,

1087
01:07:47,240 --> 01:07:50,040
which is like "try
anything," you know?

1088
01:07:50,080 --> 01:07:55,280
[Low drone]

1089
01:07:55,320 --> 01:08:00,760
[Mechanical sounds]

1090
01:08:00,800 --> 01:08:05,920
I tackled learning the Buchla
modular analogue system.

1091
01:08:05,960 --> 01:08:08,200
While I could do all kinds of
wonderful things with sounds,

1092
01:08:08,240 --> 01:08:12,960
what I really wanted was the
precision of the computer.

1093
01:08:13,000 --> 01:08:17,560
I got involved with computers
in music out of frustration

1094
01:08:17,600 --> 01:08:20,240
at other ways of
doing music, in part,

1095
01:08:20,280 --> 01:08:23,240
and also because of
the incredible potential

1096
01:08:23,280 --> 01:08:28,240
that they had for combining
the best of all other worlds,

1097
01:08:28,280 --> 01:08:29,320
let's say.

1098
01:08:29,360 --> 01:08:30,720
The memory, the logic,

1099
01:08:30,760 --> 01:08:32,720
the ability to actually
interact with sound

1100
01:08:32,760 --> 01:08:37,360
in real time began
to be possible.

1101
01:08:37,400 --> 01:08:39,720
The complete freedom
to define

1102
01:08:39,760 --> 01:08:42,240
any kind of world you wanted.

1103
01:08:42,280 --> 01:08:49,560
[Warm, fluttering tones]

1104
01:08:49,600 --> 01:08:56,560
[Organ-like notes begin]

1105
01:08:56,600 --> 01:08:57,960
[Fluttering tones fade]

1106
01:08:58,000 --> 01:09:04,840
[A single, spinning
pitch emerges]

1107
01:09:04,880 --> 01:09:11,320
[Organ-like notes flutter]

1108
01:09:11,360 --> 01:09:14,160
[A low, moving
bass tone emerges]

1109
01:09:14,200 --> 01:09:19,280
[It widens into a
splash of sound]

1110
01:09:19,320 --> 01:09:22,360
[Bass tone fades]

1111
01:09:22,400 --> 01:09:35,560
[Penetrating electric tones
sustain and overlap]

1112
01:09:35,600 --> 01:09:40,200
[Bass tone reemerges briefly]

1113
01:09:40,240 --> 01:09:44,720
[Organ-like
fluttering continues]

1114
01:09:44,760 --> 01:09:47,320
[Dissonant splash of tones]

1115
01:09:47,360 --> 01:09:57,360
[Overlapping electric tones
form a friendly melody]

1116
01:09:57,400 --> 01:10:01,960
Computers back then were the
enemy of the counterculture.

1117
01:10:02,000 --> 01:10:04,600
Computers belonged to the
banks and the military

1118
01:10:04,640 --> 01:10:07,240
and the insurance companies.

1119
01:10:07,280 --> 01:10:11,040
Computer music was the utter
dehumanisation of music

1120
01:10:11,080 --> 01:10:13,200
rather than,
to some few of us,

1121
01:10:13,240 --> 01:10:14,520
the liberation of it.

1122
01:10:14,560 --> 01:10:16,520
- Do you mean to tell me
that you haven't heard it?

1123
01:10:16,560 --> 01:10:18,160
- No, I haven't heard it.
I haven't heard it.

1124
01:10:18,200 --> 01:10:19,280
Here, play it.

1125
01:10:19,320 --> 01:10:20,360
- [Woman]: It's really
terrific, Suzie.

1126
01:10:20,400 --> 01:10:21,840
Wait 'til you hear it.

1127
01:10:21,880 --> 01:10:22,280
- [Man]: Excuse me, ladies.

1128
01:10:22,320 --> 01:10:25,280
I have a special request.

1129
01:10:25,320 --> 01:10:42,840
[Upbeat, alternating electronic
beeping tones]

1130
01:10:48,720 --> 01:10:51,960
[Upbeat, alternating electronic
beeping tones]

1131
01:10:52,000 --> 01:10:55,200
- Laurie Spiegel
was a ukulele player

1132
01:10:55,240 --> 01:10:56,960
among other things.

1133
01:10:57,000 --> 01:11:01,280
She had a sense of music
that is based in folk idioms,

1134
01:11:01,320 --> 01:11:03,320
and Appalachian Grove

1135
01:11:03,360 --> 01:11:06,160
is one of the earliest
computer music pieces

1136
01:11:06,200 --> 01:11:08,480
that anyone would want
to listen to [laughs]

1137
01:11:08,520 --> 01:11:11,200
more than once.

1138
01:11:11,240 --> 01:11:13,200
But to think that
it was all done

1139
01:11:13,240 --> 01:11:17,280
by punching holes in cards
and running them

1140
01:11:17,320 --> 01:11:21,920
through the Bell Labs computer
is quite astonishing.

1141
01:11:21,960 --> 01:11:36,280
[Upbeat, alternating electronic
beeping tones continue]

1142
01:11:36,320 --> 01:11:38,840
- [Laurie]: Technology
is just,

1143
01:11:38,880 --> 01:11:40,600
it's a natural
extension of man.

1144
01:11:40,640 --> 01:11:42,600
Man has always
played with tools.

1145
01:11:42,640 --> 01:11:43,480
Man has always
developed tools,

1146
01:11:43,520 --> 01:11:46,080
and it is a tool.

1147
01:11:46,120 --> 01:11:48,360
The machine doesn't
write the music.

1148
01:11:48,400 --> 01:11:50,080
You tell the machine
what to do,

1149
01:11:50,120 --> 01:11:52,080
and the machine is an
extension of you.

1150
01:11:52,120 --> 01:11:56,240
[Phone dialing sounds]

1151
01:11:56,280 --> 01:12:00,280
Bell Labs was a great,
great institution.

1152
01:12:00,320 --> 01:12:05,600
Everything changed after the
AT&T divestiture happened.

1153
01:12:05,640 --> 01:12:07,560
Bell Labs became
product-oriented

1154
01:12:07,600 --> 01:12:09,240
instead of pure research.

1155
01:12:09,280 --> 01:12:13,320
[Faint phone conversations
and dialing]

1156
01:12:13,360 --> 01:12:16,280
After I left there,
I was absolutely desolate.

1157
01:12:16,320 --> 01:12:23,160
I had lost my main
creative medium.

1158
01:12:23,200 --> 01:12:24,840
- [Male Interviewer]:
Laurie Spiegel,

1159
01:12:24,880 --> 01:12:27,240
you have a very
fascinating new product,

1160
01:12:27,280 --> 01:12:29,160
a software program,
which you created...

1161
01:12:29,200 --> 01:12:31,160
- Yeah.
- ...called Music Mouse.

1162
01:12:31,200 --> 01:12:32,880
Can you tell us a little
bit about that?

1163
01:12:33,120 --> 01:12:36,000
- This is actually a program
which turns the Macintosh

1164
01:12:36,040 --> 01:12:38,000
into an instrument
which you play,

1165
01:12:38,040 --> 01:12:41,960
and unlike traditional
instruments,

1166
01:12:42,000 --> 01:12:44,160
on the other hand,
it uses the logic

1167
01:12:44,200 --> 01:12:48,240
of the computer supportively
to musical expression.

1168
01:12:48,280 --> 01:12:50,720
[Uplifting piano music]

1169
01:12:50,760 --> 01:12:55,240
[Melody rises and falls
with the horizontal line]

1170
01:12:55,280 --> 01:12:57,800
[Piano chords follow
the vertical lines]

1171
01:12:57,840 --> 01:12:59,440
I needed an instrument.

1172
01:12:59,480 --> 01:13:02,520
I wanted something which was
entirely under my own control

1173
01:13:02,560 --> 01:13:04,200
that didn't have
to be marketable

1174
01:13:04,240 --> 01:13:06,160
or it didn't involve funding.

1175
01:13:06,200 --> 01:13:08,800
It was just something
entirely mine.

1176
01:13:08,840 --> 01:13:14,800
[Melody and chords ascend]

1177
01:13:14,880 --> 01:13:16,040
It's the first time
I've done something

1178
01:13:16,080 --> 01:13:17,040
essentially for myself

1179
01:13:17,080 --> 01:13:18,240
that I'm just really
making available

1180
01:13:18,280 --> 01:13:19,320
to anybody who wants it,

1181
01:13:19,360 --> 01:13:21,200
and I hope a lot
of people really get

1182
01:13:21,240 --> 01:13:22,320
a lot of good
music out of it.

1183
01:13:22,360 --> 01:13:24,720
Everybody who's using it
seems to be doing

1184
01:13:24,760 --> 01:13:25,680
something slightly different.

1185
01:13:25,720 --> 01:13:27,040
So I'll be interested,
you know,

1186
01:13:27,080 --> 01:13:29,680
keeping my ears open
for whatever you do.

1187
01:13:29,720 --> 01:13:31,040
Mouse ears.

1188
01:13:31,080 --> 01:13:34,720
[Chords ascend then
rapidly descend]

1189
01:13:34,760 --> 01:13:37,080
[Sustained notes form a
warm blanket of sound]

1190
01:13:37,120 --> 01:13:40,280
[A new piece begins with
dissonant, moving notes]

1191
01:13:40,320 --> 01:13:41,760
- She wasn't satisfied with

1192
01:13:41,800 --> 01:13:44,200
the given constraints of
what she was working with.

1193
01:13:44,240 --> 01:13:46,680
So she decided to make
her own software.

1194
01:13:46,720 --> 01:13:50,760
She just embodies
this idea of agency.

1195
01:13:50,800 --> 01:13:52,280
[The piece continues]

1196
01:13:52,320 --> 01:13:56,440
[Each note has both lower tone
and a higher, harsh tone]

1197
01:13:56,480 --> 01:13:59,160
- Her work was very
much in the lineage

1198
01:13:59,200 --> 01:14:00,320
with the work of Daphne Oram

1199
01:14:00,360 --> 01:14:02,840
because of her engineering

1200
01:14:02,880 --> 01:14:06,240
of a new language
for producing sounds,

1201
01:14:06,280 --> 01:14:08,360
and the support system
for other people

1202
01:14:08,400 --> 01:14:10,360
to invent new soundscapes.

1203
01:14:10,400 --> 01:14:16,200
[Irregular melody]

1204
01:14:16,240 --> 01:14:18,000
- [Female Interviewer]: What's
the most exciting thing

1205
01:14:18,040 --> 01:14:20,360
about the field for you?

1206
01:14:20,400 --> 01:14:25,760
- Well, this is a time at
which many people feel

1207
01:14:25,800 --> 01:14:29,080
that there are a lot of
dead ends in music,

1208
01:14:29,120 --> 01:14:30,240
that there isn't
a lot more to do.

1209
01:14:30,280 --> 01:14:31,040
This is actually...

1210
01:14:31,080 --> 01:14:34,040
I see this and through
the technology,

1211
01:14:34,080 --> 01:14:36,240
I experience this as
quite the opposite.

1212
01:14:36,280 --> 01:14:40,800
This is a period in which we
realise we've only just begun

1213
01:14:40,840 --> 01:14:44,320
to scratch the surface of
what's possible musically.

1214
01:14:44,360 --> 01:14:51,280
[Energetic, alternating,
percussive tones]

1215
01:14:51,320 --> 01:14:52,760
- [Female Narrator]:
Through technology,

1216
01:14:52,800 --> 01:14:57,280
voices are amplified,
silence is broken,

1217
01:14:57,320 --> 01:14:59,840
spaces are shared.

1218
01:14:59,880 --> 01:15:02,280
The music in our head

1219
01:15:02,320 --> 01:15:05,920
can finally be
heard by others.

1220
01:15:05,960 --> 01:15:11,240
[Pigeons cooing]

1221
01:15:11,280 --> 01:15:21,520
[Sparrows chirping]

1222
01:15:21,560 --> 01:15:27,200
[Wings flapping]

1223
01:15:27,240 --> 01:15:29,160
- [Laurie]: We
were, in a way,

1224
01:15:29,200 --> 01:15:31,480
trying to make a
bit of a revolution,

1225
01:15:31,520 --> 01:15:33,280
but I don't think we
would have put it

1226
01:15:33,320 --> 01:15:34,240
in such grandiose terms.

1227
01:15:34,280 --> 01:15:39,040
We were trying to put music
back in touch with itself.

1228
01:15:40,320 --> 01:15:45,240
[Relaxed, low-pitched
electronic groove]

1229
01:15:45,280 --> 01:15:49,240
[Buttons clicking]

1230
01:15:49,280 --> 01:15:52,520
- [Suzanne whispering]: Okay,
and this has to go here.

1231
01:15:52,560 --> 01:15:53,840
This is here.

1232
01:15:53,880 --> 01:15:55,280
This is...

1233
01:15:59,240 --> 01:16:06,320
[Buttons clicking rapidly]

1234
01:16:06,360 --> 01:16:13,760
[Robotic beeping]

1235
01:16:13,800 --> 01:16:18,440
There were really no role
models for female composers

1236
01:16:18,480 --> 01:16:21,920
when I studied music.

1237
01:16:21,960 --> 01:16:26,520
Overall, we are incrementally
getting more visibility,

1238
01:16:26,560 --> 01:16:30,320
but it's two steps forward
and one step back.

1239
01:16:32,200 --> 01:16:34,520
And to this day
it kind of irks me

1240
01:16:34,560 --> 01:16:38,040
that when I turn on my
favorite radio station,

1241
01:16:38,080 --> 01:16:40,680
it's just the male parade.

1242
01:16:40,720 --> 01:16:45,200
[Low tones move over an
orchestra of electronic sounds]

1243
01:16:45,240 --> 01:16:51,920
[Sounds get choppier,
resembling radio tuning]

1244
01:16:51,960 --> 01:16:55,360
[Low drone with
a sustained pitch]

1245
01:16:56,000 --> 01:16:59,320
- [Laurie]: It is odd that
electronic music,

1246
01:16:59,360 --> 01:17:03,920
it's generally considered
a man's field.

1247
01:17:03,960 --> 01:17:08,200
Women have been
so formative in it.

1248
01:17:08,240 --> 01:17:17,960
[Low drone continues]

1249
01:17:18,000 --> 01:17:18,840
- [Pauline]: There has to be

1250
01:17:18,880 --> 01:17:20,160
a complete change of
consciousness

1251
01:17:20,200 --> 01:17:23,200
throughout the
musical field,

1252
01:17:23,240 --> 01:17:25,480
where they could begin to
teach music that's written

1253
01:17:25,520 --> 01:17:30,800
by women, as well as men,
as well as of all colours,

1254
01:17:30,840 --> 01:17:36,320
and it would effect
a great change.

1255
01:17:36,360 --> 01:17:40,080
Listening is the basis of
creativity and culture.

1256
01:17:40,120 --> 01:17:45,800
How you're listening is and
how you develop a culture.

1257
01:17:45,840 --> 01:17:48,760
And how a community
of people listen

1258
01:17:48,800 --> 01:17:52,160
is what creates
their culture.

1259
01:17:52,200 --> 01:18:17,080
[Overtones layer over
the low drone]

1260
01:18:17,120 --> 01:18:19,120
[Eliane speaking French]

1261
01:18:28,640 --> 01:18:35,720
[Overtones swell over
the low drone]

1262
01:19:16,600 --> 01:19:26,200
[Drone continues]

1263
01:19:26,240 --> 01:19:28,040
- It's quite reassuring
to realise that

1264
01:19:28,080 --> 01:19:33,240
I wasn't the only woman making
strange electronic music.

1265
01:19:33,280 --> 01:19:35,360
- What relates
all of these women

1266
01:19:35,400 --> 01:19:38,080
is this DIY thing.

1267
01:19:38,120 --> 01:19:40,280
And DIY is interesting
because it doesn't mean that

1268
01:19:40,320 --> 01:19:44,320
you've explicitly, voluntarily
chosen to do it yourself.

1269
01:19:44,360 --> 01:19:46,680
It's that there are
certain barriers in place

1270
01:19:46,720 --> 01:19:52,280
that don't allow
you to do anything.

1271
01:19:52,320 --> 01:19:56,280
If you don't have the visual
or the knowledge

1272
01:19:56,320 --> 01:20:01,000
of there being any people
in the area of work

1273
01:20:01,040 --> 01:20:03,160
that you're interested in
that are similar to you,

1274
01:20:03,200 --> 01:20:07,240
then you don't think
that it's possible for you.

1275
01:20:07,280 --> 01:20:10,040
[Low drone swells slightly]

1276
01:20:10,080 --> 01:20:12,200
- There is something
psychological

1277
01:20:12,240 --> 01:20:15,320
that happens when you can
see yourself in the people

1278
01:20:15,360 --> 01:20:17,200
who are being celebrated.

1279
01:20:17,240 --> 01:20:18,320
[Drone gets softer]

1280
01:20:18,360 --> 01:20:24,320
[Air whooshing subtly]

1281
01:20:24,360 --> 01:20:31,160
[Drone softens]

1282
01:20:31,200 --> 01:20:42,280
[Drone fades away]

1283
01:20:42,320 --> 01:20:46,200
[Air blowing]

1284
01:21:06,800 --> 01:21:17,240
[Pleasant electronic chords]

1285
01:21:17,280 --> 01:21:20,040
[Echoey, ethereal singing]
♪ Your eyes are set on stun ♪

1286
01:21:20,080 --> 01:21:22,360
♪ You are hotter than the sun ♪

1287
01:21:22,400 --> 01:21:24,120
♪ I love to see you shine ♪

1288
01:21:24,160 --> 01:21:31,920
♪ Because you really
blow my mind ♪

1289
01:21:31,960 --> 01:21:33,400
♪ Your heart beats like a drum ♪

1290
01:21:33,440 --> 01:21:35,440
♪ It hammers when you're gone ♪

1291
01:21:35,480 --> 01:21:37,720
♪ The terms with you
and me are up ♪

1292
01:21:37,760 --> 01:21:39,520
♪ Set us free ♪

1293
01:21:39,560 --> 01:21:41,440
[Relaxed drum beat]

1294
01:21:41,480 --> 01:21:44,440
♪ Synthesise me ♪

1295
01:21:44,480 --> 01:21:47,520
♪ Hypnotise me ♪

1296
01:21:47,560 --> 01:21:50,520
♪ Humanise me ♪

1297
01:21:50,560 --> 01:21:54,080
♪ Energise me ♪

1298
01:21:54,120 --> 01:21:56,960
♪ Synthesise me ♪

1299
01:21:57,000 --> 01:22:00,320
♪ Hypnotise me ♪

1300
01:22:00,360 --> 01:22:03,320
♪ Humanise me ♪

1301
01:22:03,360 --> 01:22:07,320
♪ Energise me ♪

1302
01:22:07,360 --> 01:22:17,120
[Uplifting flute-like
melody begins]

1303
01:22:17,200 --> 01:22:19,800
♪ Your eyes are set on stun ♪

1304
01:22:19,840 --> 01:22:22,320
♪ You are hotter than the sun ♪

1305
01:22:22,360 --> 01:22:23,800
♪ I love to see you shine ♪

1306
01:22:23,840 --> 01:22:31,760
♪ Because you really
blow my mind ♪

1307
01:22:31,800 --> 01:22:33,560
♪ Your heart beats like a drum ♪

1308
01:22:33,600 --> 01:22:35,240
♪ It hammers when you're gone ♪

1309
01:22:35,280 --> 01:22:37,560
♪ The terms with you
and me are up ♪

1310
01:22:37,600 --> 01:22:41,280
♪ Set us free ♪

1311
01:22:41,320 --> 01:22:44,240
♪ Synthesise me ♪

1312
01:22:44,280 --> 01:22:47,320
♪ Hypnotise me ♪

1313
01:22:47,360 --> 01:22:50,560
♪ Humanise me ♪

1314
01:22:50,600 --> 01:22:53,880
♪ Energise me ♪

1315
01:22:53,920 --> 01:22:56,880
♪ Synthesise me ♪

1316
01:22:56,920 --> 01:23:00,240
♪ Hypnotise me ♪

1317
01:23:00,280 --> 01:23:03,320
♪ Humanise me ♪

1318
01:23:03,360 --> 01:23:07,240
♪ Energise me ♪

1319
01:23:07,280 --> 01:23:23,440
[Uplifting flute-like
melody repeats]

1320
01:23:23,480 --> 01:23:26,360
♪ I've seen the rings of Saturn ♪

1321
01:23:26,400 --> 01:23:29,720
♪ And the craters on the moon ♪

1322
01:23:30,280 --> 01:23:34,600
♪ Oceans of Venus in
the middle of June ♪

1323
01:23:34,640 --> 01:23:41,080
♪ Mirrors of Mercury and
Mars' electric skies ♪

1324
01:23:41,360 --> 01:23:47,080
♪ Pearls of Neptune
in Jupiter's eyes ♪

1325
01:23:47,120 --> 01:23:52,080
♪ I heard the old man
who plays the lake ♪

1326
01:23:52,120 --> 01:23:58,360
♪ Amazing things will make
you want to shake ♪

1327
01:23:58,400 --> 01:24:04,680
[Sound spins rapidly then
slows and becomes deeper]

1328
01:24:04,720 --> 01:24:11,000
♪ A strange planet a
zillion lightyears away ♪

1329
01:24:11,040 --> 01:24:20,040
♪ Through a black hole
across the Milky Way ♪

1330
01:24:20,080 --> 01:24:23,400
[Upbeat synthesiser and
percussion music]

1331
01:24:23,440 --> 01:24:26,160
♪ Synthesise me ♪

1332
01:24:26,200 --> 01:24:29,360
♪ Hypnotise me ♪

1333
01:24:29,400 --> 01:24:32,440
♪ Humanise me ♪

1334
01:24:32,480 --> 01:24:35,440
♪ Energise me ♪

1335
01:24:35,480 --> 01:24:38,800
♪ Synthesise me ♪

1336
01:24:38,840 --> 01:24:42,160
♪ Hypnotise me ♪

1337
01:24:42,200 --> 01:24:45,160
♪ Humanise me ♪

1338
01:24:45,200 --> 01:24:48,360
♪ Energise me ♪

1339
01:24:48,400 --> 01:24:51,320
♪ Don't patronise me ♪

1340
01:24:51,360 --> 01:24:54,320
♪ Don't glamorise me ♪

1341
01:24:54,360 --> 01:24:57,640
♪ Don't paralyse me ♪

1342
01:24:57,680 --> 01:25:01,040
♪ You can't surprise me ♪

1343
01:25:01,080 --> 01:25:04,360
♪ Harmonise me ♪

1344
01:25:04,400 --> 01:25:07,360
♪ Mesmerise me ♪

1345
01:25:07,400 --> 01:25:10,320
♪ Solarise me ♪

1346
01:25:10,360 --> 01:25:16,080
♪ Synchronise me ♪

1347
01:25:16,120 --> 01:25:21,680
♪ Synthesise me ♪

1348
01:25:21,720 --> 01:25:30,320
[Ethereal spinning
sound ascends]

1349
01:25:30,360 --> 01:25:34,400
[Spinning sound
descends and fades]