447:, meaning only one note can be played at a time, each track was assembled one at a time. Carlos said: "You had to release the note before you could make the next note start, which meant you had to play with a detached feeling on the keyboard, which was really very disturbing in making music." The synthesizer was unreliable and often went out of tune; Carlos recalled hitting it with a hammer prior to recording to obtain correct levels. After several notes were played, it was checked again to make sure it had not drifted.
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replaced, finding it "was a clownish, trivializing image of a mugging Bach, supposedly hearing some absurd sound from his earphones". They also objected to the fact that the synthesizer was incorrectly set up: " were plugged into the input, not output, of a 914 filter module, which in turn was connected to nothing, that silence is all that would have greeted Johann
Sebastian's ears."
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to commemorate the 25th anniversary of her first album, featuring a re-recording of the record using digital synthesizers and computer-assisted recording with an added introductory composition styled as a birthday fanfare for the project. In 2001, a remastered edition was released with a previously
486:
conference and played one of Carlos' recordings from the album. Moog recalled: "I walked off the stage and went to the back of the auditorium while people were listening, and I could feel it in the air. They were jumping out of their skins. These technical people were involved in so much flim-flam,
469:
was released with two different covers. The most common features a man dressed as Bach standing before a Moog synthesizer. The first pressing featured the same man seated, as shown above, with no credit to Carlos on the front cover. Carlos and Elkind objected to this original cover and had it
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599:, saying: "The whole record, in fact, is one of the most startling achievements of the recording industry in this generation and certainly one of the great feats in the history of 'keyboard' performance." In 1972 Gould participated in the Columbia Records project
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591:, Bruce Eder noted that Carlos' approach "was highly musical in ways that ordinary listeners could appreciate ... characterized by ... amazing sensitivity and finely wrought nuances, in timbre, tone, and expressiveness." The Canadian pianist
342:, who "generously spread his enthusiasm throughout the rest of the company" and assisted in the album production. Paul Myers of Columbia Masterworks granted Carlos, Folkman, and Elkind artistic freedom to record and release it.
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so much shoddy, opportunistic stuff, and here was something that was just impeccably done and had obvious musical content and was totally innovative. The tape got a standing ovation."
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671:. Carlos was angered by this, so he refused to come. So CBS, frantic to have some representation, asked me to demonstrate the synthesizer. I remember there was a nice big bowl of
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by Hans Wurman. Moog credited the album for demonstrating that synthesizers could be used for more than avant-garde music and sound effects. He said of the album's success:
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Following the album's success, Moog received requests from producers and artists for his synthesizers. A number of other Moog synthesizer albums were released, such as
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412:, testing his components and suggesting improvements. Most of the album was recorded in a rented studio apartment in which Carlos lived at 410 West End Avenue on the
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to listen to her electronic compositions. They included compositions written ten years earlier, and some written from 1964 with her friend
Benjamin Folkman at the
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458:, intending that the musician would improvise on these chords. Carlos and Folkman carefully constructed this piece to showcase the capabilities of the Moog.
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was received negative reviews from some classical music traditionalists, but gained popularity among many younger listeners. In a retrospective review for
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Classical Albums chart from 1969 to 1972. By June 1974, it had sold over one million copies, and in 1986 became the second classical album to be certified
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1990:
886:
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unreleased track, "Initial
Experiments, demonstration". Carlos wrote: "You may rest assured that this is the best these recordings have ever sounded."
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reported the album's sales surpassed one million, the second classical music record in history to achieve the feat. In August 1969, it was certified
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before it reached a peak of No. 10 that year, for a total of 59 weeks on the chart. From
January 1969 to January 1972, the album was No. 1 on the
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330:. She intended to use the novel technology to make "appealing music you could really listen to", not "ugly" music being produced by
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tape machine in Gotham
Recording Studios at 2 West 46th Street, where Carlos had brought Moog equipment for a commercial project.
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1505:"Between Technology and Music: Distributed Creativity and Liminal Spaces in the Early History of Electronic Music Synthesizers"
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508:. In February 1974, Columbia Records estimated 960,000 copies of the album had been sold in the US. In June that year,
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amended the artist credit to reflect her name, as was the case with the rest of her discography up to that point.
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Classical Albums chart, and it reached the seventh position of the Top 50 Albums chart of the
Canadian magazine
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432:. The initial track created, however, the Invention in F major, was recorded in the spring of 1967 on a
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and became the album's producer. Elkind contacted her friend, producer and conductor Ettore
Stratta at
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Soon after, Carlos began plans to produce an album of Bach pieces performed on the recently invented
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Drew
University Music Department, current owner of the Moog synthesizer used for the cover photo
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520:, for sales in excess of 1 million copies. It reached Platinum certification in November 1986.
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took approximately five months and one thousand hours to produce. As the synthesizers were
2017:
708:
129:
1603:
1579:"Robert Moog: 'I wouldn't call this music' – a classic interview to mark a Google doodle"
679:, and Terry Riley was there in his white Jesus suit, up on a pedestal, playing live on a
616:
Best
Classical Performance – Instrumental Soloist or Soloists (With or Without Orchestra)
278:
Best
Classical Performance – Instrumental Soloist or Soloists (With or Without Orchestra)
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2022:
1968:
1957:
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called it "one of the most electrifying albums I ever heard." It was inducted into the
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1418:"Switched-On Bach - Wendy Carlos | Songs, Reviews, Credits | AllMusic"
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659:. When it came out, they lumped it in at a studio press party for Terry Riley's
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1201:"Wendy Carlos Goes 'Bach' And Forward All At Once With New Reading Of Old Set"
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The Sound of Tomorrow: How Electronic Music Was Smuggled into the Mainstream
444:
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1507:. In Raghu Garud; Barbara Simpson; Ann Langley; Haridimos Tsoukas (eds.).
603:, which presented the same songs acoustically rather than electronically.
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was released in October 1968. In 1969, it entered the top 40 on the US
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A sample of "Brandenburg Concerto No. 3 in G Major - First Movement".
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musicians at the time. Elkind was impressed with the recording of
49:
1039:(originally credited as Walter Carlos) – synthesizer, programming
2150:
661:
2235:
1972:
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1231:
Miller, Chuck (January 23, 2004). "Wendy Carlos: In the Moog".
2200:
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credits the album for bringing synthesizers to his attention.
1535:
Analog Days: The Invention and Impact of the Moog Synthesizer
1434:
Analog Days: The Invention and Impact of the Moog Synthesizer
352:
1431:
PINCH, T. J.; Trocco, Frank; Pinch, T. J. (June 30, 2009).
1158:(Media notes). Columbia Masterworks Records. 1968. MS 7194.
243:
to popular music, which had until then been mostly used in
404:, performed by Carlos, with assistance from Folkman, on a
2339:
Sonatas for viola da gamba and harpsichord, BWV 1027–1029
365:
First Movement (Allegro) of Brandenburg Concerto Number 3
1309:"Wendy Carlos Takes Her Moog Music to East Side Digital"
982:
Brandenburg Concerto No. 3 in G Major - Second Movement
699:
In 1972 Columbia Records released an orchestral album,
2395:
Canonic Sonata for oboe, violin and continuo, BWV 1040
1882:
Peter & the Wolf/Carnival of the Animals – Part II
1561:"New RCA Album Establishes Moog as Musical Instrument"
997:
Brandenburg Concerto No. 3 in G Major - Third Movement
967:
Brandenburg Concerto No. 3 in G Major - First Movement
2334:
Six Sonatas for Violin and Harpsichord, BWV 1014–1019
2758:
United States National Recording Registry recordings
695:
sold over a million, and just keeps going on and on.
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Sonatas and Partitas for Solo Violin, BWV 1001–1006
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1734:(in French). Hung Medien. Retrieved 24 April 2016.
683:electronic organ against a backup of tape delays.
1532:Pinch, Trevor J.; Trocco, Frank (June 30, 2009).
2763:United States National Recording Registry albums
450:Bach provided only the two chords of a Phrygian
408:. Carlos worked closely with the Moog designer,
400:features ten pieces by Bach available under the
1377:"Col's 'Switched on Bach' Tops Mil Copies Sold"
650:
428:constructed by Carlos from components built by
1226:
1224:
552:
235:performed by Carlos and Benjamin Folkman on a
2697:List of compositions by Johann Sebastian Bach
2247:
1984:
1795:
8:
2390:Sonata for two flutes and continuo, BWV 1039
2221:Studio di fonologia musicale di Radio Milano
1699:. May 19, 1992 – via Internet Archive.
1538:. Harvard University Press. pp. 166–7.
219:is the debut album by the American composer
2438:Sinfonia for violin and orchestra, BWV 1045
1412:
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1302:
1300:
1286:
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1258:. Cambridge University Press. p. 301.
734:was remastered and included as part of the
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2216:Studio for Electronic Music (WDR, Cologne)
1991:
1977:
1969:
1802:
1788:
1780:
1256:Rethinking Difference in Music Scholarship
1209:. Vol. 104, no. 33. p. 67.
1150:
1148:
1056:
1042:Benjamin Folkman – supplementary keyboards
738:, a four-CD box set released in 1999 with
527:
309:Columbia-Princeton Electronic Music Center
193:
40:
31:
2478:For two harpsichords in C minor, BWV 1060
1674:""Switched-On Bach"--Wendy Carlos (1968)"
1509:The Emergence of Novelty in Organizations
1248:"Synthesizing difference: early synthpop"
518:Recording Industry Association of America
231:, the album is a collection of pieces by
1925:Tron: Original Motion Picture Soundtrack
1511:. Oxford University Press. p. 135.
908:
775:
687:went on to sell a few thousand records.
323:, which Carlos described as "charming".
1117:
1005:
887:Prelude and Fugue No. 7 in E-Flat Major
478:In 1968, shortly before the release of
303:Around 1967, Carlos asked the musician
1354:
1352:
1246:Peraino, Judith A. (January 8, 2015).
1129:"Wendy Carlos, Carol Wright Interview"
387:
2503:Orchestral Suite in G minor, BWV 1070
1006:
533:
456:Brandenburg Concerto No. 3 in G Major
336:Brandenburg Concerto No. 3 in G major
29:1968 studio album by Wendy Carlos
7:
2420:Violin Concerto in E major, BWV 1042
2415:Violin Concerto in A minor, BWV 1041
1901:Stanley Kubrick's A Clockwork Orange
1360:"RPM Top 50 Albums - April 21, 1969"
1167:
1165:
1123:
1121:
2728:Recordings of Johann Sebastian Bach
1333:. February 14, 1972. Archived from
1294:by Mark Vail (Miller Freeman, Inc.)
1250:. In Olivia Bloechl; Melanie Lowe;
1199:Nunziata, Susan (August 15, 1992).
1172:Sobel, Robert (February 16, 1974).
620:Best Engineered Classical Recording
554:
315:. One recording was a rendition of
282:Best Engineered Classical Recording
239:. It played a key role in bringing
2425:Concerto for Two Violins, BWV 1043
1917:The Shining (Original Sound Track)
1503:Pinch, Trevor J. (March 5, 2015).
930:Prelude and Fugue No. 2 in C Minor
842:Two-Part Invention in B-Flat Major
482:, Robert Moog spoke at the annual
25:
2458:Keyboard concertos, BWV 1052–1065
2196:Philips Natuurkundig Laboratorium
1732:"Wendy Carlos – Switched-On Bach"
1307:Morris, Chris (October 3, 1998).
1278:Switched-On Boxed Set liner notes
1174:"How 'Switched On' Was Turned On"
703:, with the same track listing as
2748:Albums produced by Rachel Elkind
2498:Orchestral Suites, BWV 1066–1069
2318:Partita for Solo Flute, BWV 1013
2071:
1909:Walter Carlos's Clockwork Orange
756:. In 1992, Carlos also released
685:Rock and Other Four Letter Words
668:Rock and Other Four Letter Words
573:
568:
563:
558:
553:
388:Problems playing this file? See
370:
199:Original cover with Bach sitting
2743:Albums produced by Wendy Carlos
2206:San Francisco Tape Music Center
454:for the second movement of the
2126:Groupe de Recherches Musicales
1559:Page, Earl (August 16, 1969).
912:
779:
691:sold a few tens of thousands.
223:, released in October 1968 by
1:
2753:Sony Classical Records albums
2583:Everything's Gonna Be Alright
1834:The Well-Tempered Synthesizer
1652:. Da Capo Press. p. 79.
1482:. A&C Black. p. 17.
1420:– via www.allmusic.com.
857:Two-Part Invention in D Minor
827:Two-Part Invention in F Major
741:The Well-Tempered Synthesizer
665:and an abysmal record called
655:had no idea what they had in
606:In 1970, the album won three
317:Two-Part Invention in F major
167:The Well-Tempered Synthesizer
1437:. Harvard University Press.
1383:. June 16, 1974. p. 27.
1105:
1092:
1076:
253:reached number 10 on the US
2597:Jesu, Joy of Man's Desiring
2313:Cello Suites, BWV 1007–1012
2121:Electronic Music Foundation
1649:I Am Brian Wilson: A Memoir
1626:www.redbullmusicacademy.com
949:Chorale Prelude 'Wachet Auf
872:Jesu, Joy of Man's Desiring
721:National Recording Registry
291:woman in 1979, reissues of
287:After Carlos came out as a
2779:
2473:No. 4 in A major, BWV 1055
2468:No. 2 in E major, BWV 1053
2463:No. 1 in D minor, BWV 1052
1327:"Music: Switched Off Bach"
770:All tracks are written by
2692:
2069:
1447:– via Google Books.
1097:
1081:
1069:
1062:
1059:
1024:Credits adapted from the
991:
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961:
943:
934:The Well-Tempered Clavier
924:
916:
891:The Well-Tempered Clavier
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866:
851:
836:
821:
806:
791:
783:
541:
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484:Audio Engineering Society
426:8-track recording machine
227:. Produced by Carlos and
208:
204:
192:
188:
179:
149:
39:
2191:BBC Radiophonic Workshop
1858:Switched-On Brandenburgs
753:Switched-On Brandenburgs
1697:"Switched‐On Bach 2000"
1290:Robert Moog, quoted in
424:, using a custom-built
2723:1960s classical albums
2637:A Whiter Shade of Pale
2618:Sheep may safely graze
1235:(613 ed.): 47–48.
697:
357:
2631:Trio Sonata, BWV 525a
2444:Brandenburg Concertos
2276:Johann Sebastian Bach
2131:Institute of Sonology
2116:Computer Music Center
2004:electroacoustic music
1395:"Gold & Platinum"
772:Johann Sebastian Bach
758:Switched-On Bach 2000
736:Switched-On Boxed Set
646:The Moog Strikes Bach
636:by the Moog Machine,
439:According to Carlos,
356:
321:Johann Sebastian Bach
260:chart and topped the
233:Johann Sebastian Bach
2655:Bach's Greatest Hits
2577:Bach-Busoni Editions
2523:The Musical Offering
2380:in E major, BWV 1035
2375:in E minor, BWV 1034
2369:in C major, BWV 1033
2364:in A major, BWV 1032
2347:in B minor, BWV 1030
1712:"Wendy Carlos, S-OB"
1476:Brend, Mark (2012).
1465:. November 19, 2019.
1292:Vintage Synthesizers
612:Best Classical Album
529:Professional ratings
274:Best Classical Album
123:Columbia Masterworks
2738:Wendy Carlos albums
2733:1960s covers albums
2683:Switched-On Bach II
2669:Jazz Sebastian Bach
2557:Air on the G String
1874:Beauty in the Beast
1850:Switched-On Bach II
1682:Library of Congress
1604:"Switched off Bach"
1133:www.wendycarlos.com
747:Switched-On Bach II
530:
2028:Experimental music
1866:Digital Moonscapes
1771:(list of releases)
1747:Wendy Carlos, S-OB
1072:Offizielle Top 100
932:" (from Book 1 of
889:" (from Book 1 of
528:
358:
268:. In 1970, it won
245:experimental music
2718:1968 debut albums
2705:
2704:
2229:
2228:
1966:
1965:
1893:Soundtrack albums
1659:978-0-306-82307-7
1622:"Giorgio Moroder"
1110:
1109:
1101:RPM Top 50 Albums
1016:
1015:
900:
899:
812:Air on a G String
705:Switched-On Bach.
701:Switched Off Bach
601:Switched-Off Bach
582:
581:
375:
212:
211:
184:Alternative cover
175:
174:
16:(Redirected from
2770:
2676:Switched-On Bach
2531:The Art of Fugue
2357:
2356:
2278:
2267:orchestral works
2256:
2249:
2242:
2233:
2075:
2063:Octophonic sound
2053:Musique concrète
1993:
1986:
1979:
1970:
1842:Sonic Seasonings
1826:Switched-On Bach
1804:
1797:
1790:
1781:
1764:Switched-On Bach
1753:Switched-On Bach
1735:
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1707:
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1156:Switched-On Bach
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1060:Chart (1968–69)
1057:
1030:Switched-On Bach
1009:
952:
914:
909:
781:
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732:Switched-On Bach
693:Switched-On Bach
657:Switched-On Bach
642:Gershon Kingsley
638:Music to Moog By
633:Switched-On Rock
597:Switched-On Bach
595:spoke highly of
585:Switched-On Bach
578:
577:
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561:
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531:
491:Switched-On Bach
480:Switched-On Bach
467:Switched-On Bach
441:Switched-On Bach
406:Moog synthesizer
398:Switched-On Bach
377:
376:
355:
340:Columbia Records
328:Moog synthesizer
293:Switched-On Bach
251:Switched-On Bach
237:Moog synthesizer
225:Columbia Records
216:Switched-On Bach
197:
158:Switched-On Bach
151:
150:
112:
111:
107:
44:
35:Switched-On Bach
32:
21:
18:Switched on Bach
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2701:
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2642:
2544:
2508:
2484:
2446:, BWV 1046–1051
2431:Triple Concerto
2401:
2358:major, BWV 1031
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2102:
2076:
2067:
2033:Hyperinstrument
2018:Circuit bending
2006:
1997:
1967:
1962:
1936:Musical tunings
1931:
1888:
1813:
1808:
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1710:Carlos, Wendy.
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709:Giorgio Moroder
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574:
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109:
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96:
57:
30:
23:
22:
15:
12:
11:
5:
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2590:Feel My Rhythm
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2377:
2372:
2366:
2361:
2349:
2343:Flute Sonatas
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2336:
2330:
2328:
2324:
2323:
2321:
2320:
2315:
2310:
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2296:Partita No. 1
2287:
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2280:
2271:transcriptions
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2236:
2227:
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2211:Studio d'Essai
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2203:
2198:
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2178:
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2023:Computer music
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2014:
2012:
2008:
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1998:
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1958:Harmonic scale
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717:the Beach Boys
677:mixing console
675:on top of the
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2184:organizations
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1644:Greenman, Ben
1641:
1640:Wilson, Brian
1635:
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1599:
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1567:. p. 57.
1566:
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1545:9780674042162
1541:
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1341:September 11,
1337:on 2012-07-06
1336:
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1315:. p. 69.
1314:
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1184:September 11,
1179:
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1046:Rachel Elkind
1044:
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1038:
1035:
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1033:
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1008:Total length:
1001:
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820:
816:
813:
809:
805:
801:
798:
795:"Sinfonia to
794:
790:
777:
774:
773:
765:Track listing
764:
762:
759:
755:
754:
749:
748:
743:
742:
737:
733:
726:
724:
722:
718:
714:
710:
707:The producer
706:
702:
696:
694:
690:
686:
682:
678:
674:
670:
669:
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663:
658:
654:
649:
647:
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639:
635:
634:
625:
623:
621:
617:
613:
609:
608:Grammy Awards
604:
602:
598:
594:
590:
586:
551:
549:
546:
545:
537:
534:Review scores
532:
523:
521:
519:
515:
511:
507:
503:
499:
497:
492:
488:
485:
481:
473:
471:
468:
461:
459:
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453:
448:
446:
442:
437:
435:
431:
427:
423:
422:New York City
419:
415:
411:
407:
403:
402:public domain
399:
393:
391:
367:
366:
345:
343:
341:
337:
333:
329:
324:
322:
318:
314:
313:New York City
310:
306:
305:Rachel Elkind
298:
296:
294:
290:
285:
283:
279:
275:
271:
270:Grammy Awards
267:
263:
259:
257:
252:
248:
246:
242:
238:
234:
230:
229:Rachel Elkind
226:
222:
218:
217:
207:
203:
196:
191:
187:
182:
178:
169:
168:
164:
160:
159:
155:
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144:
140:
137:
136:Rachel Elkind
133:
131:
127:
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119:
115:
103:
99:
93:
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88:
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68:
64:
60:
56:
51:
47:
43:
38:
33:
27:
19:
2681:
2675:
2674:
2667:
2662:Back to Bach
2660:
2653:
2530:
2522:
2443:
2430:
1923:
1915:
1907:
1899:
1880:
1872:
1864:
1856:
1848:
1840:
1832:
1825:
1824:
1811:Wendy Carlos
1762:
1752:
1727:
1717:February 19,
1715:. Retrieved
1705:
1691:
1680:
1668:
1648:
1634:
1625:
1616:
1607:
1598:
1587:. Retrieved
1585:. 2012-05-23
1583:the Guardian
1582:
1573:
1564:
1554:
1534:
1527:
1508:
1498:
1478:
1471:
1462:
1453:
1433:
1426:
1398:
1389:
1380:
1371:
1339:. Retrieved
1335:the original
1330:
1321:
1312:
1291:
1274:
1255:
1241:
1232:
1204:
1194:
1182:. Retrieved
1180:. p. 27
1177:
1155:
1136:. Retrieved
1132:
1099:
1083:
1048:– production
1037:Wendy Carlos
1029:
1023:
769:
757:
751:
745:
739:
735:
731:
730:
713:Brian Wilson
704:
700:
698:
692:
688:
684:
666:
660:
656:
651:
645:
637:
631:
629:
605:
600:
596:
584:
583:
509:
501:
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490:
489:
479:
477:
466:
465:
449:
440:
438:
397:
396:
364:
325:
302:
292:
286:
261:
255:
250:
249:
241:synthesizers
221:Wendy Carlos
215:
214:
213:
165:
157:
156:
143:Wendy Carlos
65:October 1968
55:Wendy Carlos
50:Studio album
26:
2549:Adaptations
2538:discography
2058:Noise music
1953:Gamma scale
1943:Alpha scale
1758:MusicBrainz
1026:liner notes
593:Glenn Gould
410:Robert Moog
332:avant-garde
289:transgender
2712:Categories
2611:Lady Lynda
2533:, BWV 1080
2525:, BWV 1079
2505:(doubtful)
2433:, BWV 1044
2371:(doubtful)
2360:(doubtful)
2081:By country
2048:Microsound
2011:Techniques
2000:Electronic
1948:Beta scale
1589:2018-11-28
1463:GRAMMY.com
1138:2020-01-14
1113:References
445:monophonic
390:media help
299:Background
145:chronology
87:Electronic
2571:Ave Maria
2407:Concertos
2043:Tape loop
1565:Billboard
1381:Billboard
1313:Billboard
1215:0006-2510
1206:Billboard
1178:Billboard
1085:Billboard
1065:position
1020:Personnel
723:in 2005.
626:Influence
524:Reception
510:Billboard
502:Billboard
496:Billboard
418:Manhattan
414:West Side
346:Recording
262:Billboard
256:Billboard
73:1967–1968
2564:Alphabet
2355:♭
2327:Ensemble
2269:by, and
2182:Inactive
2166:Toonzaal
1646:(2016).
1254:(eds.).
1233:Goldmine
904:Side two
727:Reissues
589:AllMusic
548:Allmusic
266:platinum
130:Producer
70:Recorded
62:Released
52: by
2273:after,
2098:Germany
1769:Discogs
681:Farfisa
516:by the
474:Release
462:Artwork
452:Cadence
171:(1969)
162:(1968)
92:baroque
2647:Albums
2490:Suites
2174:studio
2168:Studio
2156:SEAMUS
2107:Active
2093:France
1928:(1982)
1920:(1980)
1912:(1972)
1904:(1972)
1885:(1988)
1877:(1986)
1869:(1984)
1861:(1980)
1853:(1973)
1845:(1972)
1837:(1969)
1829:(1968)
1818:Albums
1656:
1608:Amazon
1542:
1515:
1486:
1441:
1262:
1213:
1053:Charts
920:Length
787:Length
750:, and
673:joints
644:, and
618:, and
542:Rating
539:Source
434:Scully
280:, and
101:Length
2514:Fugal
2451:No. 5
2306:No. 3
2301:No. 2
2161:STEIM
2146:IRCAM
2088:Chile
1677:(PDF)
1363:(PDF)
1331:Times
1012:39:45
951:'
917:Title
784:Title
430:Ampex
118:Label
79:Genre
2625:They
2352:in E
2284:Solo
2265:and
2172:WORM
2151:NIME
2141:ICMA
2136:ICEM
2038:Loop
2002:and
1719:2015
1654:ISBN
1540:ISBN
1513:ISBN
1484:ISBN
1439:ISBN
1399:RIAA
1343:2023
1260:ISBN
1211:ISSN
1186:2023
1098:CAN
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