• Newsletter
  • Contact & Imprint
  • search
close
search
  • Menu
  • News
  • Concerts
  • Music
    • Complete discography
    • Selected albums
    • Live / Concert Albums
    • Film Scores
    • Downloads
    • Videos / DVDs
  • Biography
    • Overview
    • Extended Bio
    • Members
    • Edgar Froese
  • Photos
    • Overview
    • Portraits
    • Live
    • Backstage
  • Community
  • Shop
  • Newsletter
  • Contact & Booking
Home●Sitemap●Overview

Sitemap: All pages on topic "electronic music is not real music"

Music

  • Raum

    2022

    Raum

    On their new album 'Raum', Tangerine Dream develop the concept of its precursor EP ('Probe 6-8') further.

  • Quantum Gate

    2017

    Quantum Gate

    Tangerine Dream's studio album QUANTUM GATE was due for release on September 29, 2017, coinciding with the 50th anniversary of the foundation of the ...

Biography

  • Tangerine Dream 1974 – 1983

    Tangerine Dream 1974 – 1983

    TD’s first release on Virgin Records was the album Phaedra in 1974. The album marked the beginning of the group's international success, achieving ...

  • Tangerine Dream 1984 – 1988

    Tangerine Dream 1984 – 1988

    Tangerine Dream then reduced their number of live appearances and increased their activity in the film music industry.

  • Tangerine Dream 1990 – 2000

    Tangerine Dream 1990 – 2000

    At the beginning of 1990, Edgar Froese was looking for a saxophone and flute player. Friends in Vienna recommended Linda Spa.

FAQs

  • Some people argue that electronic music is nothing other than a bunch of dogs barking at the moon?

    Answered by Edgar Froese

    Some people argue that electronic music is nothing other than a bunch of dogs barking at the moon?

    I love dogs and that’s their way of sending bio e-mails with a very strong message. Seriously, it’s the same story all over. If people don’t have a clue about something, they start whining about the way things have to be. They get upset if something ...

  • Were these tasks of composition and performance technology in any way similar to the tasks accomplished for the first two parts “INFERNO” and “PURGATORIO”?

    Answered by Edgar Froese

    Were these tasks of composition and performance technology in any way similar to the tasks accomplished for the first two parts “INFERNO” and “PURGATORIO”?

    Thematically, this was the third part, following the first and the second one. Of course, this fact did have an influence on the composition. Transforming a linguistically difficult contents into music was very difficult here. Some fans of our music ...

  • There were some really strange comments on the representation of part 2, “PURGATORIO”, in the Royal Festival Hall in London in 2004. Can you give any background information about this concert that might make these comments easier to understand for some fans?

    Answered by Edgar Froese

    There were some really strange comments on the representation of part 2, “PURGATORIO”, in the Royal Festival Hall in London in 2004. Can you give any background information about this concert that might make these comments easier to understand for some fans?

    It was definitely a very strange premiere of this 2nd part. An invitation for a concert in the RFH was put on our table by a promoter in London in November 2003. We only got the information that is was a special cycle of performances with several ...

  • Teilen Button FacebookShare via Facebook
  • Teilen Button TwitterShare via Twitter
  • Teilen Button WhatsAppShare via WhatsApp

Were these tasks of composition/performance technology similar to tasks for INFERNO and PURGATORIO?

Answered by Edgar Froese

Thematically, this was the third part, following the first and the second one. Of course, this fact did have an influence on the composition. Transforming a linguistically difficult contents into music was very difficult here. Some fans of our music might have expected rather abstract, atonal or purely electronic sound collages. I created loads of sound layouts before the first concrete notes were put to paper. What we can hear today, was definitely the only thing that worked out – according to my understanding of the material. Many other styles of the average soup kitchen of electronics or of of the orchestra avant-garde would have sounded pseudo modern, hip, anemic and dissonant on purpose here. I threw at least the same amount of composition material into the famous virtual waste paper basket on the desktop. That corresponds more or less to the amount you can finally hear on our two CDs. Concerning realization and performance technology, this project was disproportionally more difficult than the first two parts.

Bianca Froese-Acquaye
Follow us
  • Tangerine Dream @ Facebook
  • Tangerine Dream @ Youtube
  • Tangerine Dream @ Instagram
  • Tangerine Dream @ Spotify
  • Tangerine Dream @ bandcamp
Newsletter to stay up to date
E-mail address
Subscribe
TD downloads, CDs, LPs, DVDs & more
The TD SoundART Museum
Edgar Froese, founder of TD
  • Home
  • News
  • Concerts
  • Music
  • Biography
  • Photos
  • Community
  • Shop
  • Press
  • Newsletter
  • Contact & Imprint
  • Privacy
  • Cookie-Settings
Official Tangerine Dream Website by interact!multimedia, Salzburg - St. Pölten / Austria
top