Group for Contemporary Music; Charles Wuorinen, Conductor; Bethany Beardslee, soprano; Raymond DesRoches, percussion; Claire Heldrich, percussion; Richard Fitz, percussion; Howard van Hyning, percussion; Donald Marcone, percussion; Harvey Sollberger, Conductor
The Columbia-Princeton Electronic Music Center officially came into existence on February 20, 1959. This was the starting date of a fve year grant from the Rockefeller Foundation, which made available a total of $175,000 in response to a proposal by Columbia and Princeton Universities to establish working studio facilities. They were to be used by interested resident and invited composers to work in electronic music, a term that was assumed to include tape music and musique concrète. Working facilities were to include "an adequately equipped studio, the necessary technical assistance, and the means to initiate such programs of investigation as are necessary to facilitate the task of composers desiring to compose with the expanded sound resources available on magnetic tape or needed to be built up through sound synthesis." It was agreed that the main new studio would be housed at Columbia University, where the original Experimental Tape Studio was already housed, as it seemed advantageous to maintain such a studio in the metropolitan area.
The Center started to function fully in the year 1960 and accordingly, celebrated its tenth anniversary in the year 1970. By then the Center had expanded to include three nearly identical studios at Columbia University, one located in McMillin Theater on the main campus, and two in the Prentis Building, at 632 West 125th Street in Manhattan. At the latter address a fourth studio continued to house the Mark II RCA Sound Synthesizer. A laboratory for designing, building and maintaining the studio equipment was also in its tenth year of existence under the supervision of Peter Mauzey.
A fifth studio, similar in layout to the three-studio complex at Columbia, was installed in the Woolworth Music Building on the Princeton University campus. (Several years prior to this, the Princeton Music Department had begun a vigorous program of investigation into Computer Music Analysis and Computer Sound Synthesis.)
The first public concert of works produced with the new facilities was given May 9th, 1961, and repeated the following day.
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Columbia-Princeton Electronic Music Center 10th Anniversary