ultraviolet light-emitting diodes and optics, and high-power microwaveelectronics. But the application that has many researchers excited isquantum spintronics, which could lead to a practical quantumcomputer—capable of feats believed impossible for regular computers—and ultrasecure communication.
Raymond Scott 100
"It's all very well to write screwy music, and imitate things like wooden Indiansand powerhouses, but just writing screwy music isn't enough. If it's screwymusic you want, there's plenty of that in Stravinsky..."
-- Harold Taylor, 1939, from the
Rhythm Magazine
article,You Can KeepRaymond Scott In addition to making some of the most joyouslyintricate and distinctive melodies of the 20thCentury, Raymond Scott was also a leading pioneerin multi-track recording, electronic music andcollaborated with the likes of Robert Moog, JimHenson and Motown. But odds are you will recognizehis tunes from Warner Brothers cartoons. He isarguably one of the most influentialmusician/inventors in American music. Here is hissignature song, "Powerhouse," as performed by thebandRacalmuto.
"The compositions of Raymond Scott are etched, it seems, into the fabric of 20th century culture like some strand of DNA sequence coding our collectivememory for future-mutations."
-- Paul D. Miller, a.k.a. Dj SpookyRaymond's six-piece band was called the "Raymond Scott Quintette."(Apparently, Raymond thought the word "sextet" would distract from the musicand the Frenchie "ette" lent a touch of class.) While the music was classified asjazz, jazz critics were frequently hostile. Despite the critics, the music provedhighly popular with the buying public.It was not so popular with the band members. Raymond coerced them intoupwards of 60 takes, performing dizzying riffs -- and sometimes under weirdacoustic circumstances in order to achieve a particular sound. Unlike other jazzacts, improvisation was not allowed. The songs are intricately assembled asthough they were designed by an engineer. Band members could not deviatefrom the strict tune structure any more than parts manufacturers could deviatefrom an engine design. Raymond didn't use sheet music either. He recorded theplayers, edited the strips, played them back and asked the players to play there-ordered arrangements from memory.
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