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Matt Starling's Music for Nina - The Utah Review

In music, the structure of loops is fascinating for its meditative and blissful potential. In 1963, just a year prior to the release of one of his most famous compositions (In C), Terry Riley used tape loops to create music for the avant-garde play The Gift, which was being staged in Paris. Riley used recordings of the Chet Baker Quartet, about which Baker reportedly exclaimed, “Far out, man.” Pauline Oliveros created loops using swept oscillators with varying tones, clips of classical music and tape echo – an early example of the intoxicating, gratifying effects which trance and ambient music producers, DJs and remixers later would pipe into dance clubs around the world. For No Pussyfooting, the 1973 debut album by Brian Eno and Robert Fripp, the musicians created a bounty of ethereal magic by leveraging the delays of feedback and the distance between a pair of tape decks positioned just a bit between each other. Read More


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