Due to the fact that EMR Nos. 2/3 + ? a ?(REPERTOIRE INTERNATIONAL DES a M beMUSIQUES ELECTROACOUSTIQUES ec ronic , USIC eview/ INTERNATIONAL ELECTRONIC Trumansburg, New York 14886, U. S. A.MUSIC CATALOG) has undergone ,further production delays and will be unavailable for about twomonths, we have decided to go ahead with publication of theOctober issue (EMR No. 4). Production of forthcoming issueswill continue on schedule, and we hope that all 1967 membersand subscribers will receive their copies of Nos. 2/3 in Febru-ary. We deeply regret these continuing delays, but we mustemphasize that this special issue is truly a massive undertaking,and will doubtless be one of the most unique and useful publi-cations in the field of electronic music.Electronic music has clearly matured into one of music's mostsignificant and dynamic media. In 1967, the number of studiosthroughout the world more than doubled. The output of these studios can be heard nearly anywherethat music is heard: on tapes and records, at concerts, on radio and TV, even on elevators. Elec-tronic music is relevant to any style of music being composed today, and in 1968 EMR will con-tinue to bring you much of the information you need to learn about and work within any area ofthe field. 1968 issues will include extensive sections on:* TAPE RECORDERS - comparisons of available makes and models, their advantages and limi-tations for electronic music, and practical means of operation in the studio. Included willbe an article describing the revolutionary MacDonald servo-controlled tape recorder.LIVE ELECTRONIC MUSIC PERFORMANCE in Concert and Theater - available instrumentsand devices, performance techniques and methods, synchronization, and uses of lighting,performers' movements, mechanical motion, film, and radio and TV broadcasts.THE STUDIO - esthetic conception, design, construction, equipment, installation, opera-tion, and working methods will be discussed for all ranges of studios (from the home work-shop to the extensive institutional studio) and for all types of studio techniques (from clas-sical and musique concrete to the digital computer).Other articles will include:* THE MAGNETIC STENCILS OF A.H. FRISCH - an unusual and inexpensive method of pro-ducing sounds directly on tape without a tape recorder.COPYRIGHTING ELECTRONIC MUSIC = the problems involved, and ways to get a piececopyrighted.ELECTRONIC POP MUSIC - a review of the uses of electronic music by such pop groups asthe Beatles and the Beach Boys.FILTERS - types and uses for electronic music.*COMMENTS ON THE FIRST ISSUE:. a quite fascinating review of the newest means of electronic music procedure.- Edward Tatnall Canby, AUDIO Magazine, November 1967| must sincerely congratulate you and the others there who have helped to put together this excit-ing publication. | know well what it takes to make something like this go, and my applause isloud. The Review is agile, interesting, varied, and serves as a needed organ of exposition andcommunication. Good for you!- Aurelio de la Vega, Electronic Music Studio, San Fernando Valley State CollegeArticles well-written, informative, and useful to composers. Refreshingly free of awkward posturingwhich typifies most composers' publications in this country; KEEP IT THAT WAY! EMscope veryuseful. Even the ads are useful! | |- Richard Felciano, Composer, San Francisco