2. Introduction The Gaudeamus Foundation in Bilthoven facilitated* a collaboration between composer Henk Badings and mr. Roelof Vermeulen to produce a musical score for the ballet Kaïn en Abel. The music was conceived electronically by Mr. Badings at NatLab [Philips Research Laboratories]. After an orientation visit, mr. Badings composed a score which would be realized in the studio. The instruments and their applications are discussed * In his copy of the below in terms of musical time frames. In a conclusion and an epilogue, some aspects of the work manuscript, Badings wrote “untrue” next to itself are reviewed. this statement
3.a. Overview of the material
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1. The score. The score was written in traditional notation, and was subdivided into a number of “acoustic layers,” which can be compared with the voices in an orchestral score. Each acoustic layer usually contained one musical phrase with its own rhythm, melody and timbre. [...] Before combining all the elements into the larger work, the material was divided into two groups. Since we had the opportunity to use stereophonic recording equipment, we could distribute these sound layers over two tracks. By using two tracks during performance, it became possible to spatially separate certain sounds from other sounds. The consequences of these techniques are discussed in the epilogue. 2. The instrumentarium This consisted of: technical devices normally used for electronic measurements (A); devices developed at NatLab to serve as musical instruments (B); recordings of traditional musical instruments (C); and additional equipment to further transform the primary sounds (D). 15