In the late '60s, a fair amount of avant-garde and electronic music was being recorded in the United States, even on major labels; in addition to the old standbys like CRI, which had represented some measure of experimental music in addition to the straight, modernist orchestral stuff that had been its main bread and butter. However, there was a stratum of experimental music beyond that which even CRI wouldn't touch, owing to its heightened political rhetoric, seeming artlessness or perceived sense of experimentation for ...
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In the late '60s, a fair amount of avant-garde and electronic music was being recorded in the United States, even on major labels; in addition to the old standbys like CRI, which had represented some measure of experimental music in addition to the straight, modernist orchestral stuff that had been its main bread and butter. However, there was a stratum of experimental music beyond that which even CRI wouldn't touch, owing to its heightened political rhetoric, seeming artlessness or perceived sense of experimentation for the sake of experimentation. Enter Source Magazine; a spiral-bound periodical featuring music scores, photographs, and articles on experimental music and, from Vol. 2/2, 10" LPs. Despite their somewhat smaller size, the 10" LPs could hold a lot of music and -- in addition to adding a lot of value to the periodical itself -- delivered works drawn from that substrate of experimental musicianship, introducing to records composers like Robert Ashley, Alvin Lucier, Lowell Cross, Alvin...
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