“Electronic Music” as defined prior to the mid 80’s: Experimentations and tape splices/loops of various sources (“samples” as we now call them), his tools are simply an original manually patched Moog and tape decks (with a razor blade and splicing tape). Sample artists like People Like Us and Wayne Butane are the current generation borne of this guy, John Cage, Steve Reich et al. This from the internets: Trained in composition by Nadia Boulanger in Paris and Luciano Berio at Juilliard, Noah Creshevsky is the former director of the Center for Computer Music and Professor Emeritus at Brooklyn College of the City University of New York. His musical vocabulary consists largely of familiar bits of words, songs, and instrumental music which are edited but rarely subjected to electronic processing. The result is a music that obscures the boundaries of real and imaginary ensembles though the fusion of opposites: music and noise, comprehensible and incomprehensible vocal sources, human and superhuman vocal and instrumental capacities.

1) collage of sounds, little chunks/bursts, drum machines, bells, etc
2) early sample art (1979) cut ups of t.v., radio, and you know this is all tape splicing, source playback
3) synth/moog playing becomes layered and random by the end of the track (this is the oldest piece, 1971)
4) sample art/collage again, similar to 2
5) sample collage, words associated with classical/music
6) sample collage, strange repeating talk, “they don’t like sonata”
7) dark drone with excellent John Cage quotations from an interview, tape source (1976)
8) more collage, heavy on the classical music parts, mixed in with moog/electronics