Foundations (1962–1967)

Wendy Carlos ◽  
2020 ◽  
pp. 19-42
Author(s):  
Amanda Sewell
Keyword(s):  
New York ◽  
Graduate Student ◽  
Magnetic Tape ◽  
Electronic Music ◽  
Professional Career ◽  
Audio Engineering ◽  
Engineering Society ◽  
Milton Babbitt ◽  
First Time ◽  
Society Convention

This chapter follows Carlos from her time as a graduate student in the Columbia-Princeton Electronic Music Center to her early professional career as a recording engineer with Gotham Studios. At Columbia, she studied with electronic music pioneers Vladimir Ussachevsky and Milton Babbitt, learning to compose music with magnetic tape and the RCA Mark II Synthesizer. Carlos met Robert Moog for the first time in 1964 at the Audio Engineering Society convention. They worked together as Moog developed modules for 900-series analog synthesizer. Carlos also began seeing Dr. Harry Benjamin, author of The Transsexual Phenomenon, in his office in New York.

Gerrard, Saida (1913–2005)

2018 ◽  
Author(s):  
Seika Boye
Keyword(s):  
New York ◽  
Symphony Orchestra ◽  
Modern Dance ◽  
The United States ◽  
Martha Graham ◽  
Professional Career ◽  
Art Form ◽  
Federal Theater Project ◽  
The 1960S ◽  
First Time

Toronto-born Saida Gerrard was one of the first artists to import modern dance to Canada following study in the United States. Her early training included character dancing and Dalcroze eurhythmics in Toronto, and in 1931 she moved to New York City to train at the newly opened Mary Wigman School, where she studied with Hanya Holm and Fe Alf. She later continued her training at the Martha Graham School and danced with Charles Weidman through the Federal Theater Project. Gerrard eventually settled in California where she continued to teach, choreograph, and perform. From 1932 to 1936 Gerrard returned to Toronto for personal reasons and opened The Studio of Modern Dance, teaching adaptations of exercises in absolute dance (Ausdruckstanz) learned at the Wigman School. Her influence is seen through to the professionalization of modern dance in Toronto in the 1960s. Gerrard’s professional career blossomed during her return to Toronto. She performed her own work before crowds as large as 8,000 with the Toronto Symphony Orchestra, exposing many to modern dance for the first time. Her article/manifesto "The Dance" explains the artistic and philosophical impetus behind the developing art form. She eventually returned to New York where there was an infrastructure to support a professional dance career, which was not available in Canada at the time.

Sign in / Sign up

Export Citation Format

Share Document