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Joel Chadabe CD Bundle: "Chadabe and Moog" & "Electric Sound"

  • $2000


2 CD Bundle: $20!

Joel Chadabe is familiar to many synthesizer enthusiasts as a pioneer in his field, conceptualizing and commissioning the legendary CEMS (Coordinated Electronic Music Studio) System, which was built and completed by his life-long friend and colleague Bob Moog and his company, R.A. Moog Co. in 1970. He is also the author of "Electric Sound: The Past and Promise of Electronic Music". 

At the time of its development,  the mighty CEMS was the largest integrated Moog system in the world, and probably the largest integrated Moog sequencer system ever.

Joel used this new programmable synthesizer, an innovative novelty in its day, to delve deep into sonic exploration, creating a palette of previously unheard sounds. Music from that time, as well as many others, are included in his "Chadabe and Moog" CD. 

"From that time to the present, when people ask me what I do as a composer, I explain that I do not compose pieces, I compose activities. A 'piece', whatever its content, is a construction with a beginning and end that exists independent of its listeners and within its own boundaries of time. An 'activity' unfolds because of the way people perform; and consequently, an activity happens in the time of living; and art comes closer to life." -- Joel Chadabe

In "Electric Sound", the sequel CD to "Chadabe and Moog" Joel offers more recent compositions created from 1972-1987. These musical works draw from a variety of instrumentation including drums, vibraphones, percussion, synthesized orchestra, theremin-based antennae controllers, often featured in experimental performances.

Purchase both CDs for just $20. 

"This particular way of performing has been very satisfying for me. For one thing, I'm always delighted that such sophisticated and innovative technology can produce such a lyrical and musical result. For another thing, it is particularly rewarding to create a space within which performers can work with technology to produce a result that I often find so surprising and magical.

From that time to the present, when people ask me what I do as a composer, I explain that I do not compose pieces, I compose activities. A 'piece', whatever its content, is a construction with a beginning and end that exists independent of its listeners and within its own boundaries of time. An 'activity' unfolds because of the way people perform; and consequently, an activity happens in the time of living; and art comes closer to life."


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