Original subtitles

[man] Are you guys going to stop ever,

or are you gonna keep dancing forever?

I'm gonna keep dancing forever, I mean.

Well, at least 'til I remember where I put my car.

electronic music

[narrator] This is the story of women

who hear music in their heads,

of radical sounds where there was once silence...

...of dreams enabled by technology.

Technology is a tremendous liberator.

It blows up power structures.

Women are naturally drawn to electronic music.

You didn't have to be accepted

by any of the male-dominated resources--

the radio stations, the record companies,

the concert hall venues,

the funding organizations.

You could make something with electronics,

and you can present music directly to your audience,

and that gives you tremendous freedom.

But somehow women get forgotten from that history.

The history of women has been a story of silence,

of breaking through the silence...

We shall not be robbed any longer.

...with beautiful noise.

This is April 30, 1974,

and we're all here at the Bonino Gallery.

[woman] What's your name?

Suzanne Ciani, C-I-A-N-I. [laughs]

And I'm going to give...

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

These instruments are designed by a manufacturer

in Berkeley, California.

They're probably the most sophisticated system

that's available.

And I think they're sensual.

- May I have a cigarette? - They're what?

Sensual. Thank you.

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

So you were the composer. you were the performer,

you were the sole arbiter of your creation.

electronic classical music

And the machine was alive.

It was warm.

It communicated.

It was sensitive.

You know, you could move something

just the littlest bit

and then a whole new expression would open up.

One of the most amazing experiences you can have

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

The thing that I've always loved about electronic music

is that it's in motion.

It's malleable.

It's a much more open set of dynamics.

In electronics, you're not dealing so literally with

the architecture of nodes or harmonies,

those building blocks

in classical music.

You're dealing in energy.

At the dawn of the 20th century,

the world was no longer silent.

The spirit of modern life was a banshee

screeching into the future.

Futurists wanted to make art out of the new energy,

speed, and noise.

How would we begin to do such a thing,

to capture the sound of this electrified world?

electronic classical music

I do very much what a diver would do.

I just have to take a chance, and here I am.

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

Dr. Ray, now we'll have fun.

- [chuckles] - Now we'll have fun.

Now, here, hold your hand over this.

[high-pitched whining]

[whining continues]

It is a fallacy to think that the instrument

is easy to play.

You know, it is much more difficult than the violin.

I was a concert violinist before I played this.

classical music

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

playing the violin and the piano all over Russia,

then all over Europe.

We played our way to America.

I met Professor Theremin when he came to America

to demonstrate the instrument.

I was fascinated by

the aesthetic part of the instrument,

the beauty, and the idea of playing completely

without touching anything.

I also loved the sound of it.

Professor Theremin became a great friend and admirer,

and we really worked on

this particular instrument together.

I, making my musical wishes known to him,

and he, being the genius that he was,

made it work.

And we played the Nardini Concerto.

We played the whole César Franck Sonata,

which was at that time a rather great surprise

because the Theremin was associated

with just little melodies.

Suddenly you get someone who's a total virtuoso

and able to make it sound in a way

that it had never sounded before.

"You cannot play air with hammers," Clara would say.

You have to play with butterfly wings.

[Clara] I was a freak at the time.

The public had to be won over into thinking of it

as a real artistic medium played by an artist,

and I won them over.

A young composer said to me,

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

Now isn't that a lovely thought,

singing of a soul?

[electronic buzzing and beeping]

The first stage in the realization of a piece of music

is to construct the individual sounds

that we're going to use.

To do this, we can, if we like, go to these

sound generators here, electronic generators,

and we listen to three of the basic electronic sounds.

First, is the simplest sound of all,

which is a sine wave.

[high-pitched buzzing]

You can see on the oscilloscope,

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

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

This is a square wave.

It's very square on the picture

and perhaps rather harsh to listen to.

This is because it has a lot of high harmonics,

and that's what gives the corners on the picture.

Now a more complex sound still is white noise.

[static]

We don't always go to electronic sound generators

for our basic sources of sound.

If the sound we want exists already in real life, say,

we can go and record it.

[ding]

But those basic sounds aren't really interesting

in their raw state like this.

To make them of value for a musical piece,

we have to shape them and mold them.

We can get the lower sounds we need from the rhythm

by slowing down the tape.

[low clank]

And the higher sounds by speeding up the tape.

[high-pitched clank]

And then all we have to do is cut the notes

to the right length.

We can join them together on a loop and listen to them.

[pulsating rhythm sounding]

And then with the higher notes of the rhythm, again,

we join them together in a loop

and play it in synchronization

with the first tape.

[rhythm continues beating]

[high-pitched beating]

And over this we can play...

[high-pitched rattling]

ethereal music

[distorted notes playing]

Using all of these, we can build up any sound

we can possibly imagine.

We spend quite a lot of time trying to invent new sound,

sounds that don't exist already,

sounds that can't be produced by musical instruments.

[ethereal sounds]

The radio, the radio, the radio was

the most important thing in my life.

You know, there weren't books.

The radio was my education.

I was accepted by the Oxford and the Cambridge

to read mathematics, which is quite something

for a working-class girl in the '50s,

where only one in 10 were female.

Delia was a brilliant mathematician.

She was fascinated by the inner composition of a sound.

Then she could reach into it and decide

what part of that sound she wanted to use.

I was in Coventry during the Blitz.

That was such an influence on me.

It's come to me

that my love for abstract sounds were

sounds of the air raid siren. - [siren wailing]

Because that's the sound you hear and you don't know

the source of it as a young child.

It's an abstract sound, and it's meaningful,

and then the all clear.

[siren continues wailing]

[explosions in distance]

[narrator] World War II emptied cities of men.

And in the absence of men, women worked.

Freedom was more than a feeling.

[man] There isn't much glamour about this independence.

Women at work are getting to look and behave

more like men.

It's not very attractive.

disorienting electronic music

Welcome to Tower Folly, this lonely host house

on the North Downs of Kent.

Well, as far as I know, this house isn't haunted,

and there isn't a mad scientist in sight.

This is in fact a music factory where they can literally

make music out of electronic sounds,

and the woman who makes it has just been awarded a grant

by the Gulbenkian Foundation to help her research.

She's here at her control box.

Miss Daphne Oram.

How did you get involved in this kind of work?

It dates back really to 1944, I think,

when I read a book

which prophesied that composers in the future

would compose directly into sound instead of

using orchestral instruments, you see.

And well, since then, I've been working in BBC Studios,

and so I've got some little grasp

of this sort of equipment.

orchestral music

I was trained as a musician,

and the two sort of click together, you see.

Daphne was a very gifted pianist,

and she had secured a place for herself

at the Royal Academy of Music, which she turned down

because she was also very interested in technology

and wanted to work at the BBC.

ethereal music

[Daphne] I was asked to do some incidental music

for a television play,

and I did this by getting together,

in the middle of the night,

all the tape recorders that I could find in studios,

collecting them together in one studio,

and working until they had to be put back the next morning,

sleeping a little bit and then coming back in

to do my normal chamber music work.

cheerful orchestral music

So then it grew from that.

I was asked to help start the radiophonic workshop.

[man] Listen.

disorienting music

Without Daphne, it would never have started

because BBC did not want an electronic music studio.

We were just using anything we could grab hold of.

We had basic laboratory equipment

and a pair of tape machines that had been liberated

at the end of the war.

Playwrights were writing in a surreal kind of style,

which was a legacy of the war.

The style required a different kind of sound.

[man's voice echoing] Bird or angel?

[man] This program is an experiment.

We think it's worth broadcasting

as a perfectly serious first attempt

to find out whether we can convey a new kind

of emotional and intellectual experience

by means of what we call radiophonic effects.

surreal music

[man] Round and round

like a wind from the ground.

Beats and beats,

it whirls and beats.

[man] It's a sort of modern magic.

Some musicians believe that it can become an art form

complete in itself.

Others are skeptical.

In fact, we've decided not to use

the word "music" at all.

[man] This is bad.

[narrator] What began as a research trip

to the Brussels World Fair became a fateful pilgrimage.

There, Daphne hears an electronic composition

fed through 350 speakers

with synchronized projections.

dark, disorienting music

Electronic music was more than just incidental.

It was the sound of the future.

The radiophonic workshop was concentrating

somewhat on the drama side,

and I wanted to concentrate on the music side.

So I set up my own studio.

She was a woman, in the 1950s,

set up her own

independent electronic music studio.

It's extraordinarily brave.

[man] Now Miss Oram, how do you go about manufacturing

this sort of sound?

Well, let me introduce

this little electronic generator here,

which produces a sound like this.

[fluctuating tone sounding]

Now I made a little loop of tape here

with varying pure tones on it.

[high-pitched tones]

Now if I then put a little artificial reverberation

on that, I think you'll see

we're just beginning to get somewhere

with the music.

[electronic tones shimmering]

[man] So now what are you going with this

three-and-a-half thousand pounds that you've got?

Well, this is very exciting to me

because I have ideas for a piece of electronic equipment,

not quite like this. In this case, the composer,

we're going to be able to feed in drawn symbols

straight into the equipment, and out will come the sounds.

[sound reverberating]

I have a new technique completely,

one that I've evolved over the years,

which I call oramics.

And that is using graphic representation of sound.

There seems to be no real notation system

in electronic music.

I wanted a system where I could graphically represent

what I wanted and give that representation,

that musical score, in fact, to a machine

and have from it the sound.

This idea of drawn sound

is a sound that comes from nowhere.

It's a sound that is synthesized from nothing,

but she's not the ghost in the machine.

Her hands are all over it.

The composer wants to project something of himself.

The great works of art are a projection of a human mind.

And unless this machine can accept and produce exactly

this projection of the composer's thought,

then I think it's just a machine and I can quite see

why people can get frightened at the thought.

Pierre Schaeffer said, "In between noise and music,

"there is the hand of the musician."

[speaking French]

Stop.

[narrator] Eliane dreamt of an unreal, impalpable music

appearing and fading away like clouds

in the blue summer sky.

[man] Greenwich Village is mostly a state of mind.

The Village in the '50s had to be

the most exciting, wonderful place in the world.

It was unbelievable, like Paris in the 20s.

We were married in '48, and Louis' cousin brought us

a tape recorder for a wedding present.

I think we were the only ones in the country

with that machine.

We had all the artists in The Village coming to us

for recording work.

surreal music

I remember my first birth in water.

I sway and float,

stand on boneless toes,

listening for distant sounds,

sounds beyond the reach of human ears.

We started a recording studio.

We built almost all the equipment ourselves

because there wasn't any to buy.

[man] The great American boy is hard at work

inventing, creating, building something.

And the desire to build and create new things

is the energy that develops

industrious, dependable

citizens of tomorrow.

It was exciting because you were

building these things and you're experimenting

with the electronic media.

[electronic sounds]

[narrator] Louis made sounds by overloading circuit boards,

which Bebe then processed and manipulated to create music.

To the writer, Anais Nin,

it sounded like a molecule

had stubbed its toe.

And we started working on avant-garde films.

That's what this was all about,

was the avant-garde.

The sense of wonder and awe,

the beauty coming from the circuits.

I mean, we would just sit back and let them take over.

These circuits are not instruments.

They are performers.

[Bebe] We would record

everything that came out of the circuits.

I spent hours and hours and hours

listening to all that stuff. - [Louis] Oh, yeah.

Well, later you went through...

- [laughs] Days. - Miles of tape.

[Bebe] Yeah.

[Louis] Incredible, and she could hold it in her memory.

- But also-- - She could remember where to

go for a certain feeling in the sound.

Bebe had a formal musical education.

She made most of the compositional decisions

while Louis dealt more with the technical side of things.

The Barrons' greatest achievement

was with the music for Forbidden Planet.

It was the first movie with an all-electronic score.

The pride and joy of that period was in coming up

with the music for the monster.

We were just beside ourselves.

Suddenly, this circuit started generating

the most complex sounds.

The dying of Morbius

was the actual dying of the circuits.

[high-pitching whirring sounds]

We would have a credit that said,

"Electronic music by Louis and Bebe Barron."

But a memo was circulated among the executives.

How would the American Federation of Musicians

respond to a credit that says electronic music?

The Musicians' Union would not

allow the soundtrack to be considered music.

They were afraid that someday their jobs would be replaced

by machines, and so they would have none of it.

That's why it's credited as "electronic tonalities."

[Bebe] It was so awful.

We were barely acknowledged as composers.

Prior to Dr. Who,

there's a lot of distaste of electronic music.

Delia's music is absolutely crucial

in changing that perception.

[Delia] It's like a lighthouse, isn't it?

I wonder what it's like up there in a thunderstorm.

Think of being up there on a starry night,

with all the world at your feet.

You get people who are writing in

saying, "What is this? How is it made?"

Imagine what life must have been like

before samplers, before synthesizers,

before sequencers?

It took her 40 days to make the "Doctor Who" theme.

40 days.

She would sample a green lamp shade,

speed it up, reverse it,

and just completely changed the nature of the sound.

This was a documentary program

about the Tuareg tribe,

the Tuareg tribe of nomads

in the Sahara desert.

In the piece, I tried to convey

the distance of the horizon

and the heat haze,

the strand of camels wandering across the desert.

That, in fact, was made from square waves

put through every filter I could possibly find.

There must be a God.

ethereal music

Oh, yes.

Delia Derbyshire created

some very, very beautiful things and some things that had

a kind of a very strange and unearthly quality

that couldn't quite be got, I think, by normal musical means

and yet didn't sound as if

they were electronically manufactured.

Some of it was worked out mathematically.

I've tried to get into it

a feeling of simplicity

and loneliness,

of a man on a moon.

[Neil Armstrong] That's one small step for man...

one giant leap for mankind.

She created a kind of pathway

for electronic music.

I did all sorts of things I was told I couldn't do.

I think I've always been a very independent thinker.

[narrator] While the work of women

like Delia and Daphne

came from the deafening sounds of wartime,

it was the chilling silence of the Cold War

that took others to the limits of listening.

The bomb scare psychology that was inculcated,

that had a big effect on the artists

that were emerging at that time.

guitar rock music

Everybody was pushing for opening things up,

a kind of way through all the terrible stuff

that was going on in the world at the time.

So there was a lot of political motivation

behind what we were doing.

[crowd] Peace now! Peace now! Peace now!

The effect was to say,

okay, we've got to break through

anything that was rigid, anything that was limiting,

and try to move things forward.

[electronic warp sounds]

The music scene was evolving

into an area that was

very fresh and exciting.

First time I heard live electronic music

was early '60s.

Pauline was on stage with an accordion.

The room was exploding with a sound that was ear-splitting.

I had never experienced that kind of volume before.

I can't remember when I wasn't

interested in sounds.

I remember particularly things like riding in the car

with my parents for instance, maybe in the backseat,

listening to the sound of the motor

and listening to the sound of my parents' voices

being modulated by the motor.

[indistinct modulated voices speaking]

Listening to my father turn his shortwave radio,

listening to the whistles and pops and static.

I mean, I was always fascinated with

the in-between sounds in the stations,

just tuning in between.

I loved that.

[car radio changing stations]

I credit my mother.

For my birthday,

she sent me a tape recorder,

and that was a very significant event

because nobody had tape recorders, you know.

It was in the 50s.

[marching style music playing]

I began to record--

do field recording from my apartment window.

[tram bell dinging]

And then in 1959 got started making

a tape piece called Time Perspectives.

The tape recorder that I had, it was possible to record

by hand winding the tape in record mode.

That gave me a variable speed so I could do

some interesting things with that.

And I used the bathtub for reverberation

and cardboard tubes as filters.

I'd put microphones in the tube and then record sounds

through the tube.

Eventually, I met up with a group of people

who were interested in new music,

which led to the founding of

the San Francisco Tape Music Center.

The San Francisco Tape Music Center

was not associated with an institution.

So it was friends brought together what equipment

they had to share.

Our sense of what we were doing

at that point was opening a place where poets,

painters, film, and electronic or tape music,

where all this stuff could be done.

It was a sense of individuality.

Nobody wanted to be like anyone else

and everybody was very supportive

of what everybody else was doing.

My interest was always in live performance

and I started to find out ways to use tape recorders

and perform live with them,

and that was making a tape delay system,

which allows me to maintain

that physical contact with the sound.

[high pitched whirring]

orchestral music playing

How do you exercise the canon of

classical music of misogyny

with two oscillators, a turntable, and tape delay?

Feminism was at the center of what she was doing,

and it's strange because it seems like if the boys' club

is going to pick a token woman, you would not pick

a woman who is that outspoken.

Pauline was conscious of the fact that

she was different.

She had a streak of a revolutionary in her.

Pauline, it was hard, you know,

she had come out in the 50s

and here she was a woman, gay,

avant-garde music,

each thing by itself would be hard,

but she had three things that were hard

and women composers

were not being performed, you know.

[man] You wrote an editorial

to the New York Times once called

"Don't Call Them 'Lady' Composers"

- [Pauline] That's right. - Tell us about

when you wrote that and why.

[Pauline] I just want to be introduced as a composer.

That has caused me to use that title

and to start to point out

how hard it was for women to be taken seriously

as creators of music.

[narrator] Go out walking at night.

Tread so quietly the bottoms of your feet become ears.

Working with an all-women ensemble,

instructions like these were intended to encourage

deep listening.

[Pauline] I was alarmed

as many were, of course,

with the Vietnam War,

and I began to seek some ways of working with sound

that I could discover more of a kind of inner peace.

I found myself listening to long sounds

and becoming more interested in

what the sounds did themselves

than what I would do with them.

And as this work proceeded,

I began to become interested

in what the kind of listening

I was doing did to me

and my own internal processes.

[woman] Does it have social and political

implications to you,

the kind of music that you write?

Oh, yes.

Well...

I feel that one's interactions,

the way one relates in an organization of any kind,

is political and social

and very important.

The path that I hope to be on is one where the energy

that comes out of the work that I do is beneficial

to others as well as myself.

I want my work to be mutually beneficial.

I'm not interested in making an object

of art and entertainment.

I'm interested in making something that helps me

to grow and expand and change as an individual

and in relation to others.

[narrator] Pauline's preoccupation with

how we hear and feel the sounds within and around us

were shared by Maryanne Amacher at MIT,

who was sounding out the city.

[high-pitch whirring]

I had installed a microphone

in eight locations at the Boston Harbor

in the New England Fish Exchange

connected to telephone links.

It was very nice to come in late at night

at 1:00 in the morning

and just turn on the mixer and have the sound

coming from the distant night when I liked it best

because I could hear patterns in various shapes.

- [seagulls squawking] - [high-pitched whirring]

I realized, my, there's a tone of this place.

There's a whole undercurrent that exists here

that makes this recognizable in some way.

It wasn't hard to analyze it in Boston.

It was like a low F sharp.

Then other places, for example, New York,

it was like a low E.

[rumbling]

It wasn't that I wanted the sounds of the birds

or the sounds of the harbor or any of these sounds,

I really wanted to experience and learn about hearing.

[man] When people say to you, "Yeah, but is it music?"

After you say, "Yes it is,"

how do you expand on that?

[Maryanne] Well, I think that's sort of an old question.

Much of our music, classical pop, has this beat,

has this gallop, has this trot.

I'm interested in music that communicates some ideas,

[eerie echoing]

finding places where there is space and dimension

to the sound,

sounds very, very far away and very close up.

Maryanne was really interested in

contemporary science.

She had been very interested in muon research,

these particles that speed through the universe.

She was constantly thinking about

intersections of science, life, and sound.

Her house was incredible.

It was in breathtakingly bad condition.

There was this whole rack

full of these sine wave oscillators

straight out of a physics lab.

And there's this woman sitting there

with this really intense, buzzy energy.

She'd have a rock-and-roll attitude

towards, "I'm going to make this whole house

"vibrate and come alive."

[frequencies reverberating]

She wanted to develop an extremely

rigorous approach to listening,

to activating sights,

to thinking outside of composition as it's known.

She didn't want to push around

dead white men's notes.

I wanted to create music

where the listener actually

had vivid experiences of contributing.

In composing, I am conscious of the tones

that you make in response to the tones

that a musician plays.

One of the phenomenon she was most interested in

was otoacoustic emission.

She referred to them as ear tones.

If you have two frequencies and they sound together,

the ear and the mind try to sort of resolve them.

There is an emergent third pitch.

She can compose these outer things that will produce

this inner thing.

She would refer to it as

ghost writing the listener's music.

The first time one encounters her music

and the way that it dances inside your ear

is this light bulb moment.

You can actually play with

the physicality of the listener.

[eerie frequencies echoing]

[high-pitched frequency ringing]

Merce Cunningham commissioned a piece from her.

You'd hear this very high pitch.

And then there would be thunder,

[thunder rumbling]

beautiful thunder recorded in stereoscopic sound

that would shift across the room.

And when it hit, there would be this array

of other frequencies that would happen.

It was very, very beautiful.

[high-pitched frequency ringing]

[narrator] The idea of a slowly evolving composition

that alters the listener

also fired the imagination of Eliane Radigue.

When I met Eliane,

she had been working with the Buchla synthesizer,

yet this piece that she wrote, Chry-ptus,

sounded nothing like a Buchla.

We're talking with Eliane Radigue

who's here from Paris.

Are you working with both synthesizers

and tape recording processes?

Yes, the ARP synthesizer

and the tape recorder.

My main involvement with music is to work on

slow changing of the sounds.

[Charles] So in a way,

you're working with time?

[Eliane] Yes, my last work, Adnos II,

is 75 minutes long, and it couldn't be shorter.

It just goes like a stream.

I should say that this music I make

is not so much welcome,

except by a few people, of course.

There is nothing in between.

People likes it, or not at all.

For the music establishment,

they think that I don't make music.

That's not music.

[Charles] Oh, still arguing about that, are we?

[Eliane laughing]

Our music was meant to be listened to

in a different way than how you'd listen to,

like, a pop song.

In a pop song you're listening for

melodies, harmonies, lyrics.

In her music, you're listening not just

for the things that are changing in the sound,

but for the way that the experience

is changing your disposition.

[crowd chattering]

[synthesizer playing]

I'll make it start very dull

and then get very bright like that.

It sounds more like a trumpet sound.

[synthesizer playing]

And I'll add a little echo.

[synthesizer playing]

The transgressive act of

recontextualizing these classic

Western art music tropes,

that takes a lot of strength, humor, and vision.

Up until that moment,

electronic music had this promise

of a different vocabulary, a different language,

a new paradigm, a new way of working.

Switched-On Bach, the way it impacted

the public's consciousness

of what a synthesizer was,

was completely retroactive.

Everybody thought that these things were about

replicating sounds.

To me, electronic music wasn't about

making baroque music

with new timbres.

It was a different kind of music.

You just had the Summer of Love.

Everything we knew was being thrown out,

[crowd shouting]

and it was a whole new world.

Electronics were part of that world.

- What are they? - Oh, these are patch cords.

This is-- these are the things that route the signal

from one little module to another to get the sound.

You can patch it a lot of different ways and the way

you patch it will determine what you get.

It's like creating an instrument.

Do you know before you put them in

what it's going to sound like?

Well, you're always going towards an idea.

That's what makes you put the patch cords in certain places.

Part of an instrument is what it can do

and part of it is what you do to it.

The other part of music of course is the motion

and the personal involvement that a musician gives

to his instrument,

and that's something that I happen to feel

and have with synthesizers.

So I play the synthesizer the same way

somebody else would play cello or violin.

[arpeggiator ringing]

For a classically trained pianist

to turn her back on a keyboard,

she's crazy.

It was like learning a new language

via the means of cutting out your own tongue.

Yeah, I can sing out of tune

and it'll still be in tune

because it depends on what I'm playing.

This is all the pitch so you don't have to really be able

to sing to do this.

So, it's great. it's great.

Hello, hello, hello.

I couldn't get a record deal

because the record companies were not interested

in a woman who did not sing.

One, one...

Advertising wanted to be on the edge.

They were looking for something different.

I had total freedom.

Nobody could tell me what to do.

They didn't know what I did.

[man] The new Clairol custom care coon brush.

Atari is going to turn your head around.

Big news from Covergirl.

There's a whole new thick lash mascara.

The landscape that she must have walked into

must have been like something from Mad Men.

I remember Suzanne telling me stories like

she'd turn up early to set up

all the modular gear in studios

and a young engineer would come in and go,

"Which mic are you going to sing on?"

or, "What are you going to sing for us?"

Because those stereotypes were

so commonplace in studios in those days.

Welcome to Xenon.

More than anybody else,

she built a career

out of making weird music,

which is something I think everybody aspires to.

Oh...

She had her own company.

She was able to turn her art into something

she can live on.

- Oh! - [echoing]

Don't be afraid.

This is my almost male voice.

[audience laughing]

Make the thing make noises for us.

- Okay, let's-- - Now first of all,

why do you have this stuff?

What do you do with this?

Well, this is how I make a living.

But I mean, you don't go door-to-door saying,

I'll make you sound goofy.

Yeah, they call me. they call me.

They call you, uh...

[sound building up]

[sound getting louder]

Should I stop?

No, let it go for about half an hour.

That's wonderful.

[applause]

It was 1980.

I was hired to do a Hollywood feature.

It was a Lily Tomlin movie.

Lily was a woman, the head of the production

at Universal was a woman.

So I had two women in positions of power.

And guess what? I got hired.

Is that package for me?

Mike, it's for me. it's for me.

I didn't know I was the first woman

to be hired to score a major Hollywood feature,

and I didn't know that it would be 14 years

until another woman was hired.

We are casualties

of a day-to-day system

that operates without awareness

that we're even there.

Galaxy glue

Life would go to pieces without galaxy glue

[Lauire] There weren't any women composers that I knew of.

I had never heard of one.

Composers were old white dead men.

It was just not something I ever thought of

as something I could do.

When they asked me in high school,

"What would you like to do with your life?"

I said, "I would love to do music."

They said, "Totally out of the question.

"You would have needed to have music lessons

"all during your childhood."

So I did a degree in social sciences,

but secretly I really always wanted to do music.

After I got my bachelor's and moved to New York,

I thought, I'm going to regret it

for the rest of my life if I don't give it a real try.

- [piano playing] - [man vocalizing]

I was taking ear training and music at Juilliard

and happened to be in Mike Czajkowski's class.

And he was working with Mort Subotnick.

Mike dragged me down to Mort's studio

and it was like music went

from black and white to color.

I fell in love with electronic music.

It completely changed

the way I heard everything.

The sounds of the traffic in the street

no longer sounded the same.

I always wanted to do something in the arts

that had to do with the real, authentic experience

of being alive, in contrast to

the 1950s hypocritical reality in which I lived,

in which everything was glossed over

with cotton candy.

A perfect dinner, Judy.

And you said she couldn't boil water

without burning it.

[Laurie] I got involved in the downtown art scene,

which is like "try anything," you know?

[dissonant and random sounds playing]

I tackled learning the Buchla modular analogue system.

While I could do all kinds of wonderful things with sounds,

what I really wanted was the precision of the computer.

I got involved with computers in music

out of frustration at other ways of doing music, in part,

and also because of the incredible potential

that they had for combining the best of all other worlds,

let's say.

The memory, the logic,

the ability to actually interact with sound

in real time began to be possible.

The complete freedom to define

any kind of world you wanted.

[sounds changing]

[rumbling]

Computers back then were the enemy of the counterculture.

Computers belonged to the banks and the military

and the insurance companies.

Computer music was the utter dehumanization of music

rather than, to some few of us,

the liberation of it.

Do you mean to tell me that you haven't heard it?

No, I haven't heard it.

Here, play it.

It's really terrific, Suzie. Wait 'til you hear it.

Excuse me, ladies.

I have a special request.

[electronic music playing]

Laurie Spiegel was a ukulele player

among other things.

She had a sense of music that is based in folk idioms,

and Appalachian Grove

is one of the earliest computer music pieces

that anyone would want to listen to

more than once.

But to think that it was all done

by punching holes in cards

and running them through the Bell Labs computer

is quite astonishing.

[Laurie] Technology is just,

it's a natural extension of man.

Man has always played with tools.

Man has always developed tools,

and it is a tool, it's not--

The machine doesn't write the music.

You tell the machine what to do,

and the machine is an extension of you.

Bell Labs was a great, great institution.

Everything changed after the AT&T divestiture happened.

Bell Labs became product-oriented

instead of pure research.

[overlapping voices]

After I left there, I was absolutely desolate.

I had lost my main creative medium.

[man] Laurie Spiegel,

you have a very fascinating new product,

a software program, which you created...

- Yeah. - ...called Music Mouse.

Can you tell us a little bit about that?

This is actually a program which turns the Macintosh

into an instrument which you play,

and unlike traditional instruments,

on the other hand, it uses the logic of the computer

supportively to musical expression.

[Laurie] I needed an instrument.

I wanted something which was entirely under my own control

that didn't have to be marketable

or it didn't involve funding.

It was just something entirely mine.

It's the first time I've done something

essentially for myself

that I'm just really making available

to anybody who wants it,

and I hope a lot of people really get

a lot of good music out of it.

Everybody who's using it seems to be doing

something slightly different.

So I'll be interested, you know,

keeping my ears open for whatever you do.

Mouse ears.

She wasn't satisfied with

the given constraints of what she was working with.

So she decided to make her own software.

She just embodies this idea of agency.

Her work was very much in the lineage

with the work of Daphne Oram

because of her engineering

of a new language for producing sounds,

and the support system for other people

to invent new soundscapes.

[woman] What's the most exciting thing

about the field for you?

Well, this is a time at which many people feel

that there are a lot of dead ends in music,

that there isn't a lot more to do.

This is actually...

I see this and through the technology,

I experience this as quite the opposite.

This is a period in which

we realize we've only just begun

to scratch the surface of what's possible musically.

[narrator] Through technology,

voices are amplified, silence is broken,

spaces are shared.

The music in our head

can finally be heard by others.

[pigeon cooing]

[whooshing echoing]

We were, in a way,

trying to make a bit of a revolution,

but I don't think we would have put it

in such grandiose terms.

We were trying to put music

back in touch with itself.

And...

Okay, and this has to go here.

This is here.

This is...

There were really no role models for female composers

when I studied music.

Overall, we are incrementally

getting more visibility,

but it's two steps forward and one step back.

And to this day it kind of irks me

that when I turn on my favorite radio station,

it's just the male parade.

It is odd that electronic music,

it's generally considered a man's field.

Women have been so formative in it.

There has to be a complete change of consciousness

throughout the musical field,

where they could begin to teach music that's written

by women, as well as men,

as well as of all colors,

and it would effect a great change.

Listening is the basis of creativity and culture.

How you're listening is and how you develop a culture.

And how a community of people listen

is what creates their culture.

It's quite reassuring to realize that

I wasn't the only woman making strange electronic music.

What relates all of these women

is this DIY thing.

And DIY is interesting because it doesn't mean that

you've explicitly, voluntarily chosen to do it yourself.

It's that there are certain barriers in place

that don't allow you to do anything.

If you don't have the visual

or the knowledge

of there being any people

in the area of work

that you're interested in that are similar to you,

then you don't think that it's possible for you.

There is something psychological that happens

when you can see yourself in the people

who are being celebrated.

[exhales]

Your eyes are set on stun

You are hotter than the sun

I love to see you shine

Because you really blow my mind

Your heart beats like a drum

It hammers when you're gone

The terms with you and me are up

Set us free

Synthesize me

Hypnotize me

Humanize me

Energize me

Synthesize me

Hypnotize me

Humanize me

Energize me

Your eyes are set on stun

You are hotter than the sun

I love to see you shine

Because you really blow my mind

Your heart beats like a drum

It hammers when you're gone

The terms with you and me are up

Set us free

Synthesize me

Hypnotize me

Humanize me

Energize me

Synthesize me

Hypnotize me

Humanize me

Energize me

I've seen the rings of Saturn

And the craters on the moon

Oceans of Venus in the middle of June

Mirrors of Mercury and Mars' electric skies

Pearls of Neptune in Jupiter's eyes

I heard the old man who plays the lake

Amazing things will make you want to shake

A strange planet a zillion lightyears away

Through a black hole across the Milky Way

Synthesize me

Hypnotize me

Humanize me

Energize me

Synthesize me

Hypnotize me

Humanize me

Energize me

Don't patronize me

Don't glamorize me

Don't paralyze me

You can't surprise me

Harmonize me

Mesmerize me

Solarize me

Synchronize me

Synthesize me