Ted Houghtaling

A 1954 episode of Recordings E.T.C., re-introduced and re-broadcast in 1972, in which Canby examines some of the more radical composers of the 1920s, such as Copland and Weill.

Canby discusses the writings of music critic, Richard Goldstein, and the evolving role of the critic in shaping public perception of avant-garde music-making.

Canby plays a recording of a classical quartet that uses no microphones. He also plays a selection of music composed by Wendy Carlos for the Moog synthesizer.

In this episode of Recordings, E.T.C., host Ed Canby explores composer John Cage's work, "HPSCHD" (1967-1969), a piece derived from computer-generated patterns and pre-recorded tape music.

A two-part survey of the life and work of Irish composer, John Field (1782-1837).

A look at the strange and wonderful world of private press recordings.

In the third and final part to his overview of electronic music, Canby uses The Beatles and the 'happenings' of the 1960s to illustrate the blurring of boundaries between popular music and avant-garde experimentation in electronic sound.

In this second episode of a three-part series on the history of electronic music up to the 1960s, Ed Canby discusses the shift from naturally derived sounds to the pure electronic abstraction made possible by electronic tone generators and musical synthesizers.

In this first episode of a three-part series, host Ed Canby discusses the history of electronic tape music from its origins in the 1940s to its subsequent influence on the vocabulary of experimental music and sonic expression in the 1950s and 1960s.

The third episode of a three part series on the musical relationships between The Beatles and the Baroque era.

In part 2 of 3, Ed Canby explores the similarities between the song structures of The Beatles and the music of the Baroque era.

In this first of three parts, Canby provides commentary on The Beatles and their fascination with music of the Baroque era.

A comparison between Sir Hamilton Harty's "Suite from Music for the Royal Fireworks" (1924) and George Frideric Handel's "Music for the Royal Fireworks" (1749).

Canby explores the growing interest in the study and performance of non-Western musical forms in post-WWII America.

In a piece from 1963, Ed Canby explores two works by German composer, Karlheinz Stockhausen

A selection of readings from both the contemporary (Cocteau) and the Middle Ages (Chaucer).

A sampling of piano music by Béla Bartók — as played by the composer's wife, Ditta Pásztory and produced by Peter Bartók , their son and a recording engineer.

An overview of the work of Edgard Varese and the ever-increasing acceptance of electronic music in mid-twentieth-century popular culture

Canby invites the listening audience to experience "a strange and compelling world of sonic surprises" in the work of composer Edgard Varese.

A brief history of the Electronic Sound Synthesizer, the first programmable machine for the production of electronic music, created in 1955 at the Radio Corporation of America (RCA)