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Daria Semegen (1946)


Daria Semegen (Bamberg, June 27, 1946)




Semegen Daria was born in Germany to parents in Ukraine and arrives in America at the age of seven years. In 1965, a student at the Eastman School of Music, composed "Six Plus", a piece for traditional instruments and band influenced by the musique concrete. He continued his musical initiation at the Rochester Institute of Technology and Yale University, during the years he has an opportunity to deepen the theory and technique of composition with more artists: Bulent Arel, Alexander Goehr Samuel H. Adler, Robert Gauldin, Bunill Phillips, Witold Lutoslmki, Biilent Arel, Vladimir Ussachevsky. Between 1968 and '69, he moved in Poland, where he meets a new teacher, Witold Lutoslawski. Although in the 70s the Buchla 200 series is one of his favorite instruments, also composes acoustic pieces like "auatres des Jeux" (1970). In 1971 he studied electronics at Yale with Bülent Arel and thanks to this summer of the same year are allowed to work on his music under the guidance of Ussachevsky. Columbia was born "Electronic Composition No. 1" the famous song created entirely through electronic sources but the method of classical music note for note, phrase by phrase compositions come to life only to be mixed in various ways. ECNo.1 wins in 1975 the 'International Society for Contemporary Music prize. Between 1971 e 1975 Semegen insegna al Columbia-Princeton Electronic Music Center e lavora come assistente tecnico di Ussachevsky e Otto Luening. In seguito riceve un incarico alla State University di New York a Stony Brook dove ad oggi è direttore dell’ Electronic Music Studio e Associate professor of Composition, Theory, and Electronic Music.

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IV COURSE ON THE PROCESS EXECUTIVE

IV COURSE ON THE IMPLEMENTATION PROCESS EXECUTIVE

ESTATE: OPERATIONAL PROFILES

BARI, 11 - 18 - 26 March 2010

Thursday, March 11 2010
I GIORNATA
ore 15:00 - Sala Consiglio Ordine Avvocati Bari
• Saluti di benvenuto e presentazione
Avv. Pasquale Barile
Segretario del Sindacato degli Avvocati di Bari
Avv. Pierluigi Vulcano
Presidente della Fondazione Giuridica di Bari “Irnerio”
Avv. Emmanuele Virgintino
Presidente del Consiglio dell’ordine degli Avvocati di Bari
• Esecuzione immobiliare e tutela dei terzi nel sistema delle misure di prevenzione
Dott. Franco Cassano, Magistrato Corte Appello di Bari
Avv. Prof. Andrea Aiello, Università di Trapani


Giovedì 18 marzo 2010
II GIORNATA
ore 15:00 - Sala Consiglio Ordine Avvocati Bari
• Esecuzione immobiliare, credito fondiario e fallimento
Avv. Prof. Achille Saletti, Università di Milano
Avv. Prof. Giuseppe Miccolis, Università di Lecce


Venerdì 26 marzo 2010
III GIORNATA
ore 15:00 - Aula Magna Corte d'Appello di Bari
• Limiti esterni ed interni dell'azione esecutiva: l’oggetto del pignoramento e la individuazione dell’immobile staggito nella nota di trascrizione.
Vincoli di destinazione artistici, urbanistici, paesaggistici. Gli immobili abusivi. Inserimento dell’area in piani PEEP o PIP.
I beni facenti parte di eredità not accepted
Dr. Franco De Stefano, Magistrate Court of Appeals Salerno
Dr. Michele Augelli, Notary in Foggia



by: Mr. Luigi Pansini and Mr. Gianfranco Todaro

For information and registration, please contact the Secretariat Lawyers of the Union address to the header (Ms Giovanna Catalano).
Course are limited and reserved for the first 100 members. Participation fee is € 100.00.
deadline for submissions: March 5, 2010

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Wendy Carlos & Rachel Elkind: Switched-On Bach (1968)




Wendy Carlos & Rachel Elkind: Switched-On Bach (1968)


Switched-On Bach, oltre ad essere stato il primo album di musica classica a guadagnarsi il disco di platino, cambiò per sempre la faccia del pop, of rock and traditional music. He started a host of imitators and infinite delight the ears of an audience that until then had looked with suspicion electronics. Prior to S-OB-mail was considered the vanguard in the worst possible way and, moreover, did not raise no economic interest. Wendy Carlos
solved the problem:

"I thought if I Offered That people a little bit of traditional music, and They Could Clearly hear the melody, harmony, rhythm and all the older values, they'd finally see That this was really pretty in net new medium "

Walter Carlos had studied piano, was interested in physics, had experience as a sound engineer and Columbia had degree in composition with Otto Luening and Ussachevsky. In 1966 Bob himself gives him his first Moog, with help from Bob Schwartz, a colleague at Gotham Recording Studios, Walter's apartment on West End Avenue, Walter had become a recording studio in miniature. Bob spends a whole weekend in the West End to check the correct operation of the instrument, is the beginning of a long and successful partnership: Carlos, suggests some improvements and market leads to the port and the switch. Over the years, Moog goes back and forth between New York and Trumansburg with his prototypes, desirous of valuable advice to Walter. Gotham Studios to meet Carlos Rachel Elkind, arrived from San Francisco as aspiring singer jazz and ended up working first as an assistant producer and then, in the music industry. Rachel describes his first encounter with Wendy:

"loathe at fist sight. We did not care for Each Other at all. It Took us about a year before I started bugging her to collaborate with me or makes me feel

When Wendy Rachel to a version of a Bach sonata immediately realizes the potential of this work. Wendy had not yet thought to make an album of covers of Bach: the idea is Rachel. The two began writing the first movement of the Third Brandenburg Concerto: Wendy and Rachel works at Moog produces sounds not too encouraging imitative than those actually usati da un’orchestra. Il timbro doveva essere familiare ma pur sempre differente. Alla fine dell’estate del ’68 S-OB è finalmente pronto e la Columbia offre al duo un contratto. Il successo investe le ragazze ma, non tutto è rose e fiori. In quel periodo Walter sta iniziando la sua trasformazione in Wendy grazie ad una terapia ormonale a cui segue nel 1969 un pionieristico intervento permanente. Per questo motivo Walter-Wendy non fa vita sociale, non appare in pubblico e non incontra altri musicisti. Dopo il tragico concerto con la St. Louis Orchestra nel 1969, Wendy si rifiuta per sempre di suonare in pubblico. Specchio di Walter-Wendy, la stessa natura di S-OB completamente prodotto in studio, mal si presta alle esibizioni live. Anche per Rachel le cose non sono felici. La gente non capisce il suo ruolo in quel capolavoro:

“Having built up Walter Carlos, I also got tired of people thinking that I was there serving tea”.

Ma la gigantesca portata di S-OB non causa problemi solo alle sue creatrici; il disco spaventa i musicisti d’orchestra che immaginano il loro lavoro andare in fumo, sostituito da una sola persona e da un sintetizzatore. Terrorizza gli artisti e i compositori d’avanguardia che vedono la sintesi imitativa di Carlos popolarizzare i loro progetti sperimentali. Per tutte queste persone è necessaria una strategia di salvezza e così l’American Federation of Musician e i produttori di spot siglano un contratto nel 1969 per bandire the use of the Moog by the production of commercial jingles. The quarrel ended with the intervention of Walter Sear, who once belonged to the lobby. Thanks and his contacts Sear explains the AFM that the Moog needs a musician to be played ...
After changing the history of music, Wendy Rechel and continue to work together. After the timely realization: The Well-Tempered Synthesizer (1969), Switched-on Bach II (1973), Switched-On Brandemburgs (1979) and the soundtrack of A Clockwork Orange (1972) and The Shining (1980).



Bob Moog describes the public reaction EASA meeting in New York (1968) after listening to a preview of a piece of the Third Brandenburg Concerto:

"I put the tape on, and I wanted to let it run. So I just Walked off the stage into the back of the room. And I can remember people's mouths dropping open. I swear I Could see a couple of cynical old bastards Those starting to cry. At the end, she got a standing ovation, you know, Those cynical, New York experienced engineers HAD HAD Their Minds blown "

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Eliane Radigue (1932)



Eliane Radigue (Paris, January 24, 1932)

Eliane Radigue approaches to work as a composer in the fifties. In 1955 he met Pierre Schaeffer, director of Radio France d'Outre-Mer and the laboratory of concrete music of RTF (French Radio and Television) and became his student. The following year, Schaeffer believes Eliane sufficiently independent to itself access to the studies of the RTF, so the teacher writes a letter to the Director of the Nice seat but denies pupil access to the laboratories. Between 1958 and 1967
Eliane takes a break from electronics, dedicating his time to the three sons and her husband, the French artist Arman. After the divorce from his wife, Eliane back on track and is employed as an assistant to Pierre Henry Study Apsome where he created some sounds for his work. In this period as a technique using Eliane compositional feedback and tape recorders. In 1969 he released his first work of Radigue, a double 45 rpm in a limited edition of 250 copies, reprinted in 2000.
In the 70s he moved to the United States found many similarities with the New York minimalist scene. The musical atmosphere of the U.S. is not the only thing that pushes to move Eliane: in America there is a large supply of synthesizers, Moog, Buchla, modular systems, all machines that had the advantage to produce sounds with a control that does not can be done with the old tape recorders. In 1970 she was invited by New York University, agrees with the study of Morton Subotnick Laurie Spiegel with the study. She remained there until June 1971 making some arrangements with the Buchla. In New York falls in love of ARP 2500, an instrument that will use almost absolutely until 2000.
"Work within the sound, the ARP I program with a base and then introduce variations to the potentiometers. These slow variations are one of the elements that are evolving the sound and you do not ever identical. This is what interested me and always interested in doing, but I can not get with digital cameras. The ARP is a tool from the extreme sound quality, relatively easy and flexible in terms of handling and ultimately very precise. I could not work with preset tools. Like instead of playing in uncertain areas, where the ear is lost and through this "erratic" creates a space of freedom. But paradoxically, the end product is far from improvisation! You can not improvise. "

In 1973 he taught electronics at the University of Iowa and California Institute of the Arts. In 1974, Terry Riley at Mills College where he called the opportunity to work with Pauline Oliveros and Maggie Payne. After playing at Mills College Adnos, "some students define his music," meditative. " Eliane started to approach the Tibetan Buddhism. Skip the next three years with the guru Kalu Rinpoche devoted exclusively to meditation. Back electronics in 1979 with "Adnos II" followed by "Adnos III" in 1980. Between 1980 and 1990 he wrote the "Trilogie de la mort", a composition of three hours inspired by the Tibetan Book of the Dead. In 2000 the French government bestowed the "bourse à la creation" through which Eliane composed "Songs of Milarepa" and "Jetsun Mila", works dedicated to the Tibetan poet and saint who lived in the eleventh century. In this same year he recorded his latest electronic composition, "Re-sounding Ile", awarded the Ars Electronica in Linz in 2006. In 2001 he began writing scores for acoustic instruments and collaborates with The Lappatites, improvisation group for computers.

A Portrait of Eliane Radigue (2009) from Maxime Guitton on Vimeo .

"I think the sounds have their own personality and this gives the sense of time that they need. There are sounds that they needed time to tell their story. There are others who are a little 'more lively, fast. I try to respect the time of the sounds ... "Eliane Radigue

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Alice Shields (1943)


Alice F. Shields (Manhattan, New York, February 18, 1943)


In 1950, Vladimir Ussachevsky (Columbia University) and Otto Luening (Princeton University) founded the Electronic Music Center. Located in New York in one of the areas for the Columbia University, the Centre is made official in 1959 thanks to a donation from the Rockefeller Foundation. The purpose of the EMC is to teach techniques to young composers of electronic music and the instruments (oscillators, phonographs, microphones, sequencers, electric organs, filters, tape recorders and much more) were available to students for recordings and live-sets . From 1959 to 1970, years in which management is entrusted to the institute Ussachevsky, the best known investigators visiting, studying or working at EMC
Alice Shields arrived at Columbia in 1961 to study music and literature. After He attended classes in composition by Jack Beeson, he graduated and became an assistant to Ussachevsky, his professor of counterpoint. From 1965 to 1982 he was associate director and technical instructor at the Columbia-Princeton Electronic Music Center.

"When in 1964 I Walked into the building for the first time, I Could see and hear the screeching monkeys in Their laboratory cages. Such Was the building in the Electronic Music Center Which Existed, and for at least twenty years nurtured the creation of Hundreds of wildly different works of art. "

excellent mezzo-soprano, Alice begins to include in its tracks made of loops, feedbacks, oscillators and filters, recordings of his voice. In 1965 he studied singing with Helen Merritt; Study realized in 1968 for voice and Tape synchronizing voice recordings with synthesized sounds on tape created with a Buchla. The contamination of operatic arias and electronic music is the theme of the search for Alice Shields: between 1966 and 1968 working at the Lake George Opera Festival and in 1970 led his first opera, Odyssey. The item becomes a real tool in Shaman, electronic work performed by the American Chamber Opera Company in 1987. Alice Shields still works as a composer in the opera world and is famous for the contributions non-classical (Indian music, Native American symbolism ...) introduced in this field.



"The Sunbather

She, sun
beating, walloping,
(save yourself, idiot)
--dead tired, can’t make it
(save yourself, idiot)

and she smothering you
you lie stinking, hot and nude on an asphalt roof.

She whacking, pummeling you,
my advice is, Complain.
--and then your bellow is beefed and gutted,
spat with smirking cheeks over the parapet.

Wide scraping sun-hips skin you, flail you,
idiot, idiot,
and you gravelling there nude on asphalt,
and you ecstasy in your bright bloody face."
--Alice Shields

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COMPANY '- The control of the minority shareholder in Srl Right to information and consultation.


The limited liability company certainly is the form used in most cases by those who want to set up a company capital.
Often, however, the relationship between the shareholder, or between those who have subscribed to the shares or bought them from the original partners, with the passage of time may deteriorate and it becomes necessary to carry out checks on operations.
Here I suggest the reader a quick overview the faculty member is not granted to the administrator Civil Code, inviting the reader to turn to the study for any further information on limited liability companies or persons, such as SAS and Snc

The legislature has provided that members do not solicit or administrators can affect some decisions that the company should or could take, this right can not be hindered by the majority shareholders or the board of directors.
Article. 2479 of the Civil Code in the first paragraph provides that the shareholders holding at least 1 / 3 of the share capital can convene the meeting and propose for approval a few topics other than those reserved for them in the articles.
addition they may require some decision to be taken Meeting with the method, Art. 2479 a, although the memorandum provides an alternative method and that for changes to the constituent, transactions involving the change of company, the change of shareholder rights or reduction of capital losses as provided by 'Art. 2482 ca.
Article. 2408 mentioned by art. 2477, paragraph 4, stipulates that if Srl has no obligation to have every member of the supervisory board may terminate the management measures which have damaged the company considers the supervisory board that should be taken into account in its report to the assembly.
If the complaint comes from the member owns 1 / 20 of the capital the board of auditors must investigate without delay the facts and submit its findings and any proposals to the assembly.

brings us to the decisive point in the field of social control over the documents.
Following the reform of company operation with the Decrees Decree Law 6 / 2003 and 37/2004, the Civil Code states the second paragraph of art. 2476
" members not involved in the administration are entitled to have news from administrators on the conduct of social affairs and to consult, even by professionals they trust, the corporate books and documents relating to the administration." .
control by the shareholders, not directors is expressed in right to information and consultation including through professionisti di fiducia del socio ed è mirato ad assicurare una corretta gestione della società da parte degli amministratori.

E' il mezzo tipico a disposizione del socio di minoranza per controllare l'operato dell'amministratore, espressione della volontà del socio di maggioranza.
Va rimarcato che il diritto di controllo non può essere negato o limitato ad alcuni documenti da parte degli amministratori potendo in tal caso il socio rivolgersi all'autorità giudiziaria e non è subordinato alla ricorrenza di un particolare interesse ma solo alla titolarità della qualifica di socio.

Come detto il controllo può essere effettuato con l'ausilio di avvocati, commercialisti delegates from the member or other professionals is not an administrator. Directors should provide information on the conduct of social affairs and grant access to company books and documents relatvi al'amministrazione. In the case of
refusal by the company to make available documents the right of access can be operated by the shareholder in a matter of urgency with the appeal to the competent court in relation to the registered office of the company, under Article . 700 of the Code of Civil Procedure. The shareholder has the right to exercise control in question and issue of copies of all documentation relating to the management of the company as required by Court of Pavia by an Ordinance of 2007.

In this case the member, after submitting a request extrajudicial been unsuccessful, had brought the action under Art. 700 cpc asking the Court to order the company, according to art. 2476, paragraph 2, access and extract copy of the ledger, book of aduanze and deliberazoni Assembly and the Administrative Board, the book inventory, ledger, VAT records, tax returns, billing and the invoices and other documents relating to corporate management.
Justices of Pavia stated that it recognized the right of a shareholder to exercise control through the release of copies of all documentation relating to the management.

should be noted that the right to obtain copies is provided for in Article SpA. 2422 while for the Srl is admissible even if not expressly stated in the code, except when necessary to apply to the court to define the mode in the absence of agreement between the parties.

focuses in the field of protective measures in addition to prima facie case, or the requirement of membership is required danger in delay or the possibility that the delay in obtaining the information would prejudice the right of control over 'Directors of the Company and the exercise of their powers both within the company through legal actions such as impugnazone budget or pursue action for damages against directors.

In conclusion based on experience I can suggest to the minority shareholder of the shareholder does not, however, Ltd and director who perceive difficulties in the "life" has a hint of corporate and business management "unclear" to operate without delay the right terms of art. 2476, section 2, relying on management checks of directors to experienced professionals.
A formal request to the company to give information on the conduct of social affairs and to consult the corporate books and anything else relevant to the management company, followed by access to documents, extraction and copy any action in court against those responsible, proved decisive in protecting the interests of the minority shareholder from activities contrary to law or contrary to social pacts in place by directors or majority shareholders.

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Maddalena Fagandini - BBC Radiophonic Workshop



Maddalena Fagandini - BBC Radiophonic Workshop


With the Second World War, women have access to jobs hitherto considered male domains. Employ young girls as radio engineers and technicians allows institutions to bridge the gaps left by men called to arms:

"There Was a tradition of using women as engineers and technical people in radio. This Happened During the War When All the gentlemen Went off to fight the war. There was quite a cut back after the war Surviving When The gentlemen Came back and wanted Their jobs, of course, naturally, But It Was That women still thought HAD done well. "

Il Radiophonic Workshop è uno dei migliori esempi di questa rivoluzione: qui sono impiegate lungo gli anni Daphne Oram, fondatrice del dipartimento nell’aprile del 1958, Maddalena Fagandini, Delia Derbyshire e Elizabeth Parker. Le prime esperienze realizzate dalle Signore della radio devono molto alla musique concrète, partorita nel 1948 dalla mente di Pierre Schaeffer. Alla BBC tale influenza ha l’occasione di radicarsi e di divenire molto forte soprattutto a causa della mancanza di strumentazione adatta alle nuove composizioni elettroniche. Per generare musica concreta sono sufficienti solo registrazioni ambientali su bobina manipolate in un secondo tempo per mezzo di filtri. All’epoca in cui i sintetizzatori non avevano ancora visto la luce, the Maida Vale studios were equipped with old tape recorders, oscillators of 12 tests taken from other departments of the BBC and little other equipment capable of producing noise. With meager funds for the workshop engineers are anxious to expand the equipment of studios buying kit post-conflict to Portobello Market, and only in 1970, thanks to Peter Zinovieff, the BBC acquires three VCS3 EMS Synthi 100 and a modular system. The lack of willingness to engage in the expansion of BBC equipment was born from a part of the great success that the authors were unable to obtain the RW with the few resources available, the other part on concerns that the new and strange noises generated in the mentality of the years Fifty, some doctors did note the leaders of the BBC and the workers had recommended a stay at the workshop up to three continuous months. Exposure to the sounds over a long period could lead to madness. The technical backwardness of the Workshop stimulates certain composers and is throwing in the towel to others. In 1959, Daphne Oram left the workshop and Maddalena Fagandini takes its place. After a secondment to the Italian ranks past the BBC, Maddalena is transferred to the Maida Vale Studio. Here composes jingles and simple interval signals creating the effects required by scripts with what he has available to it, she inevitably ends up inspired by the musique concrete. Through some oscillators built effects and a soundtrack for the adaptation of Cocteau dell'Orphée. With the arrival of Delia Derbyshire, who knew mathematics and the possibility of use of sound, the activities of the Workshop undergoes a great change and its experimental production increased exponentially. In 1962, George Martin, at the time the BBC Music Library, register with Mary Magdalene "Bit Time" under the pseudonym Ray Cathode. This is the first single released from RW composed using a signal created from the same range of Maddalena. A few months after Martin discovered the Beatles. Revolver strongly affected by the experience of Martin at the Radiophonic Workshop. Between 1965 and 1966, after the revolution scope of the early Moog synthesizer, Maddalena his attention to television production. It was clear that the electronics would soon become a true discipline, with a particular instrument, which was to provide more training for its musicians.



"Interestingly But It Was not Me The Sounds That Were Themselves suggesting what to do. That you learn the secret is in the material and not in Itself Mathematical calculation in your head. Its there somewhere for you to listen and find it. It has ITS own rhythm. You push it around at your peril. You have to let it happen, let it be. Then you can play around with what you know about music to help construct musical sound Which Makes sense to people listening. "Maddalena Fagandini

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Daphne Oram (1925-2003)


Daphne Oram (Devizes, Wiltshire, 31 December 1925 - Maidstone, Kent, January 5, 2003)

After graduating
Sherborne School For Girls, Daphne Oram began teaching piano, organ and composition. In 1942 the Royal College of Music offers a place but prefer to accept the role of Daphne Junior Studio Engineer at the BBC. At only 18 years Daphne starts to become familiar with synthetic sounds and make our first experiments with tape recorders. In the 50s is promoted by the BBC to Studio Manager. After a trip to Paris to study the matter RTF techniques of electronic music and concrete music scene in the English radio. Thanks to Daphne in 1957, the BBC saw the birth of the first soundtrack, with only electronic sources: bringing Amphitryon 38 using a sine wave oscillator, an old tape recorder and some filters. Along with Desmond Briscoe will start receiving commissions for other works including "All That Fall by Samuel Beckett. In 1958, under the sponsorship of the BBC, Desmond and Daphne founded the BBC Radiophonic Workshop. In October of that year, the radio sends as its representative at the World Exhibition in Brussels. The "Journées Internationales de Musique experimental" gather the most avant-garde of the time, Daphne note its technical backwardness due to lack of interest in the trial of the BBC. Leaving the Radio and in 1959 created his Oramic Studios for Electronic Composition in Fairseat, Kent. Daphne's universe expands: he began to work not only with radio and television but also with theater, opera authors (Thea Musgrave and Ivor Walsworth), movies (he creates the sound effects of The Innocents, Jack Clayton), installations and exhibitions. In 1962 receives a grant to enhance and develop the Oramics, method of composition and perfomace who had begun to make even the time of the Workshop. The Oramics consists of a large machine and a film 35mm transparent on which the composer gives an alphabet of symbols. Passed through the photoelectric cell, the symbols are translated into sounds with specific amplitudes, timbres, frequencies and durations and then transferred to tape. The first composition obtained in this way is Essonic Contrasts "(1968). Daphne Oram goes down in history as the first woman to direct a music studio, to found and own a design and build an electronic musical instrument. In 1971 scrve "An Individual Note of Music, Sound and Electronics," which investigates the electronic music so philosophical. In 1990 due to health problems must stop its work. He died in 2003 leaving a huge archive will be followed by "Oramics" posthumous collection of some of his work.



"She lived music. She Was as poor as a church mouse, Because Any money That Went into her chamber to her music gadgets. To me She Was Rather a kindly eccentric aunt . But She Had a very clear vision of how the computer Would revolutionize electronic music. " Chris Oram

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Else Marie Pade (1924)



Else Marie Pade (Aarhus, December 2, 1924)



Else start taking piano lessons in secret, under the guidance of a teacher of Music in Aarhus. The parents would have preferred a career for her daughter quiet and serene but the aspirations of Else were very distant from those of a receptionist in Denmark of the Second World War. The teacher introduces the plan soon to the environments of Resistance: unfortunately the two are captured by the Gestapo and only 19 years Else is found to spend eight months in prison camp Frøslev Lejre. It was 1944. At the camp
Else has the opportunity to meet some people can understand her deep interest in music, these illustrious patrons of the monthly grant an annuity to finance studies at the Music Academy.
Else From 1946 to '49, he moved to Copenhagen where he attended piano lessons at the conservatory. After graduating continues to deepen their knowledge under the guidance of Vagn Holmboe. In a night of 1951 will hear a speech by Pierre Schaeffer in the radio show "Horisont": the soul of musique concrète explained the new theory of music "sound universe." Else is so impressed by what the teacher that he decided to travel to Paris to meet him. In 1952, the two are linked by a strong friendship.
After a summer afternoon spent at the Bakken park in Deer Park, where musicians performed the Stravinsky of Petrushka outdoor Else decides to make a documentary for Danmarks Radio. The result is a soundtrack of the sounds of the park, music and nature sounds, reissued electronically. The work, "One day at Dyrehavsbakken" (1954-55), is not well received by the Danish public, very closed compared to the avant-garde:

"People Were indignant That I allowed myself to call it music."

Despite the savage criticism, Else continues his research in sound. Leans Holger Laurdsen, also occupied at Danmarks Radio, in contact with the circle of Werner Meyer-Eppler and is interested in electronic music. The two begin their journey together in the musique concrete. Holger teaches the basic techniques and, through them, Else creates a soundtrack for the radio drama "Looking for a ghost" (1956). The couple, who previously had used the lab to the radio, you put in own and builds a recording studio with equipment imported from abroad. Around the two formed a circle of technicians, writers and enthusiasts dedicated to plays and discussions about cutting-edge music. Stockhausen, Ernst Krenek and Herbert Eimert often visit the group holding seminars. The Danish composers do not take kindly to the work of Else and baby club, much less accepted theories of Schaeffer and Stockhausen: All the trends are removed from the Conservatives. If Denmark was not at all interested in the work of Elesa, Stockhausen and Boulez are calling on the tape to listen to students during the lessons that the two held in Europe. The works were delivered to teachers' SYV circler "(Seven Circles), the first electronic work ever done in Denmark, and" Glasperlespillet "(The Glass Bead Game). In 1958, the Universal Exhibition in Brussels, meets Else Berio and Maderna. Later met John Cage. Since 1957, things start to get complicated: the sudden death of Holger amplifies the loneliness and isolation of Else. In 1958 he produced "Symphonie magnétophonique", a composition of 19 minutes played for the first time at the Danish Radio in 1959. The paper describes a symphonic journey in modern civilization with the means of concrete music: sounds taken from everyday life, mixed with those made in the studio or those taken from the archives of Lauridsen. La situazione precipita nel 1960 quando Else divorzia dal marito Henning Pade: non poteva davvero fare a tempo pieno la produttrice, la madre single e la compositrice di musica elettronica in un paese a lei davvero ostile:



“The fact that I was a female composer - which was obviously rather unusual at the time - was not perceived as a problem by anyone. In Denmark, on the other hand, I often felt a bit ridiculed as a female composer. Even my own husband was bothered by my creating music. One might say that I was doubly isolated in Danish composer circles, partly as a composer of electronic music, partly as a woman.” Else Marie Pade