Tod Dockstader

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MPS
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Tod Dockstader

Post by MPS » Fri Feb 18, 2011 7:24 pm

After finishing my last collection of noise someone told me that it sounded like Tod Dockstader. I had never heard of the man on his work before. I found this site...
http://dockstader.info/
...where you can stream his work and find out some biographical info.

I was astonished at what this man had created so long ago. His work deserves to be mentioned in the same company as Stockhousen, Ussachevsky, and Berio.

His classic works are on Starkland Records where you can find more information about his work.

People say that Eno is the father of ambient music. After hearing Docstader's early works I think that statement is incorrect. Or Tod is the Grandfather of ambient music.
http://www.atomicshadow.com/

A wall of dusty old junk, synths, and effects. Broadcasting live, from yesterday's world of tomorrow.

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3rdConstruction
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Re: Tod Dockstader

Post by 3rdConstruction » Thu Mar 10, 2011 9:50 pm

Hey, another Dockstader fan! I was also previously familiar with the more well known experimentalists (like Stockhausen, Ussachevsky, Shaeffer, Babbitt, Varese, etc.) from my university years so long ago, and only discovered Dockstader a couple years ago.

His background was in sound and film instead of academic music. He never got the recognition he deserved and was not able to get a university posting because he lacked a sufficiently "academic" background. Even the leading edge of experimental music was tainted by the conservative exclusivism of academe...

...from the Dockstader.info website:

"As a non-musician, I couldn't write music, but this "new art of sound" didn't need notation. In the beginning, musique concrète wasn't even agreed upon to be music... It also seemed to me, this new art of sound, a very democratic art. I'd studied painting for five years and gave it up, primarily because I came to dislike the exclusivity of it; a painting became the property of one person, one institution. I liked the idea that Schaeffer's first work was created in a (public) radio studio; his first premieres were broadcasts, not the "narrowcasts" of concert hall performances. And, when you bought a recording of it, you owned the work just as much as anyone else, because the work was a recording. So, I pursued that."

He's made some great great music in the old electro-acoustic musique concrète tradition that I'm still very fond of. I love his early Eight Electronic Pieces, and his Apocalypse and Quartermass are masterworks. I think it's great that he's taken up music again. Even though his 3 Aerial CDs are very very different in their structure and execution from his early work, they are also a great listen.

I hope he keeps composing and recording for a long time to come.
...speaking at length about something is no guarantee that understanding is advanced.

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