Acid house is a sub-genre of house music that emphasizes a repetitive, hypnotic and trance-like style, often with samples or spoken lines instead of lyrics. Acid house's core electronic squelch sounds were developed around the mid-1980s, particularly by DJs from Chicago who experimented with the Roland TB-303 electronic synthesizer-sequencer. Acid house spread to the United Kingdom and continental Europe, where it was played by DJs in the acid house and later rave scenes. By the late 1980s, copycat tracks and acid house remixes brought the style into the mainstream, where it had some influence on pop and dance styles.

Nicknamed "the sound of acid",^[1] acid house's influence on dance music is tangible considering the sheer number of electronic music tracks referencing acid house through the use of its sounds, including Trance, Goa Trance, Psychedelic Trance, Breakbeat, Big Beat, Techno, Trip-hop and House music.^[2]

The Roland TB-303 bass synthesizer provided the electronic squelch sounds often heard in acid house tracks.

History[link]

Chicago acid house movement[link]

The first acid house records were produced in Chicago, Illinois. Phuture, a group founded by Nathan "DJ Pierre" Jones, Earl "Spanky" Smith Jr., and Herbert "Herb J" Jackson, is credited with having been the first to use the TB-303 in the house music context (the instrument appeared as early as 1983 in disco via Alexander Robotnick).^[3] The group's 12-minute "Acid Trax" was recorded to tape and was played by DJ Ron Hardy at the Music Box, where Hardy was resident DJ. Hardy once played it four times over the course of an evening until the crowd responded favorably.^[4]

Chicago's house music scene was suffering from a massive crackdown on parties and events by the police. Sales of house records were dwindling and, by 1988, the genre was selling less than a tenth as many records as at the height of the style's popularity.^[5] However, house and especially acid house was beginning to experience a massive surge in popularity in Britain.^[6]

The London house-music scene[link]

London's club Shoom opened in November 1987^[7] and was one of the first clubs to introduce acid house to the clubbing public of the UK. It was opened by Danny Rampling and his wife, Jenny. The club was extremely exclusive and featured thick fog, a dreamy atmosphere and acid house.^[8] This period began what some call the Second Summer of Love, a movement credited with a reduction in football hooliganism: instead of fights, football fans were listening to music, taking ecstasy, and joining the other club attendees in a peaceful movement often paralleled to the Summer of Love in San Francisco in 1967.^[9]

Two simple patterns on the Roland TB-303 bass synthesizer. The second pattern has had the filter EG attack level altered.

Another club called Trip was opened in June 1988 by Nick Holloway at the Astoria in London's West End.^[10] Trip was geared directly towards the acid house music scene. It was known for its intensity and stayed open until 3 AM. The patrons would spill into the streets chanting and drew the police on regular occasions. The reputation that occurrences like this created along with the UK's strong anti-club laws started to make it increasingly difficult to offer events in the conventional club atmosphere. Considered illegal in London during the late 80s, after-hour clubbing was against the law. However, this did not stop the club-goers from continuing after-hours dancing. Police would raid the after-hour parties, so the groups began to assemble inside warehouses and other inconspicuous venues in secret, hence also marking the first developments of the rave.^[11] Raves were well attended at this time and consisted of single events or moving series of parties thrown by production companies or unlicensed clubs. Two well-known groups at this point were Sunrise, who held particularly massive outdoor events, and Revolution in Progress (RIP), known for the dark atmosphere and hard music at events which were usually thrown in warehouses^[11] or at Clink Street, a South East London nightclub housed in a former jail.^[12]

The Sunrise group threw several large acid house raves in Britain which gathered serious press attention. In 1988 they threw "Burn It Up," 1989 brought "Early Summer Madness," "Midsummer Night's Dream," and "Back to the Future." They advertised huge sound systems, fairground rides, foreign DJs, and other attractions. Many articles were written sensationalizing these parties and the results of them, focusing especially on the drug use and out-of-control nature that the media perceived.^[13]

Media attention[link]

In the late 1980s and early 1990s, news media and tabloids devoted an increasing amount of coverage to the hedonistic acid house/rave scene, focusing on its association with psychedelic drugs and club drugs. The sensationalist nature of the coverage may have contributed to the banning of acid house during its heyday from radio, television, and retail outlets in the United Kingdom. The moral panic of the press began in 1988, when the UK tabloid The Sun, which only weeks earlier had promoted Acid House as "cool and groovy" while running an offer on Acid Smiley Face T-Shirts, abruptly turned on the scene. On October 19, the tabloid ran with the headline "Evils of Ecstasy," linking the Acid House scene with the newly popular and relatively unknown drug. The resultant panic incited by the tabloids eventually led to a crackdown on clubs and venues that played Acid House and had a profound negative impact on the scene.^[14]

UK acid house and rave fans used the yellow smiley face symbol simply as an emblem of the music and scene, a "vapid, anonymous smile" that portrayed the "simplest and gentlest of the Eighties’ youth manifestations" that was non-aggressive, "except in terms of decibels" at the high-volume DJ parties.^[15] Some acid house fans used a smiley face with a blood streak on it, which Watchmen comics creator Alan Moore asserts was based on Dave Gibbons' artwork for the series.^[16]

Within just a few years, acid house had gained a considerable fan base, and the influence of the music reached beyond the club and warehouse environment. It also influenced UK pop music during these formative years, emerging in a somewhat sanitized version in songs like Bananarama's "Tripping on Your Love" (1991) and Samantha Fox's "Love House" (1989). Acid house influences also appear in the 1988 hit by S'Express, "Theme from S'Express" and in remixes of pop songs on 12" singles by various mainstream acts.

Musically, acid house started to move away from its almost total reliance on the TB-303, but continued to use repeated sound sequences that were shifted and warped by electronic modulation.

Etymology of the term[link]

There are conflicting accounts about how the term acid came to be used to describe this style of house music.

One account ties it to Phuture's "Acid Trax": Before the song was given a title for commercial release, it was played by DJ Ron Hardy at a nightclub^[4] where psychedelic drugs were reportedly used.^[17] The club's patrons called the song "Ron Hardy's Acid Track" (or "Ron Hardy's Acid Trax").^[4] The song was released with the title "Acid Trax" on Larry Sherman's label Trax Records in 1987. Sources differ on whether it was Phuture or Sherman who chose the title; Phuture's DJ Pierre says the group did because the song was already known by that title,^[4] but Sherman says he chose the title because the song reminded him of acid rock.^[18] Regardless, after the release of Phuture's song, the term Acid House came into common parlance.^[4]

The reference to "acid" may be a celebratory reference to psychedelic drugs in general, such as LSD, as well as a popular mid-1980s club drug Ecstasy (MDMA).^[19] Such drugs were reportedly prevalent in Ron Hardy's club, where Acid Tracks was first heard and popularized.^[20]

According to Rietveld ^[21] it was the house sensibility of Chicago in a club like Hardy's The Music Box, that afforded it its initial meaning. In her view "acid connotes the fragmentation of experience and dislocation of meaning due to the unstructuring effects on thought patterns which the psycho-active drug LSD or 'Acid' can bring about. In the context of the creation of Acid Tracks it was a name to indicate a concept rather than the use of psycho-active drugs in itself." ^[22]

Philippe Renaud, a journalist for La Presse in Montreal, states that the term Acid house was "Coined in Chicago in 1987 to describe the sound of the Roland 303 bass machine." Renaud states that acid house music "made its first significant recording appearance on Phuture's Acid Trax (DJ Pierre) in that year."^[23]

Electronic music historian Dan Sicko also advances this theory in his book Techno Rebels, stating acid house is "named for its psychedelic sounds," particularly that of the Roland TB-303.^[24]

Other accounts of the etymology of the term are not based on the LSD or psychedelic connotations. The theory that acid was a derogatory reference towards the use of samples in acid house music was repeated in the press and in the British House of Commons.^[25] In this theory, the term acid came from the slang term "acid burning", which the Oxford Dictionary of New Words calls "a term for stealing."^[19] Since acid house makes substantial use of sampling, this can be deemed "stealing from other tracks."^[26]

In 1991, UK Libertarian advocate Paul Staines claimed that he coined the non-drug-oriented explanation (equating "acid burning" with stealing) to discourage the government from adopting anti-rave party legislation. Staines stated that he spread this misinformation because he believed that the British public would deem the use of drugs at rave parties to be unacceptable, and would therefore support legislation against rave parties.^[27][28]

Various accounts tie "acid house" to British performer and musician Genesis P-Orridge of the experimental music collective Psychic TV, which in 1988 released a record called "Tune In (Turn On The Acid House)", allegedly the first record to have the phrase in its title. However, London Records released a compilation album in 1987 called "The House Sound Of Chicago - Vol. III - Acid Tracks" under the ffrr label.

Some of the accounts claiming that P-Orridge coined the term tell of a visit he made to a Chicago record store. One says that he combined the terms "acid" and "house" after seeing them separately on the covers of albums he bought there.^[29] Other accounts, including one from P-Orridge himself, say he merely bought records from a bin marked "acid".^[30][31] A variation of the story says the bin's label was a reference to a corrosive liquid, but P-Orridge mistook it as a reference to LSD.^[30] One account goes on to say he bought the whole bin and played the records at his regular DJ gig at Ibiza, where he introduced the Chicago sound to the MDMA-using, Osho-following "orange people" there, who discovered the music and drugs complemented each other.^[30] P-Orridge's role is disputed by music journalist Simon Reynolds, who calls it a "self-serving myth",^[32] and by Fred Giannelli, another member of Psychic TV.^[33]

Once the term acid house became more widely used, participants at acid house-themed events in the UK and Ibiza made the psychedelic drug connotations a reality by using club drugs such as ecstasy and LSD.^[34][35][36] The association of acid house, MDMA, and smiley faces was observed in New York City by late 1988.^[37] This coincided with an increasing level of scrutiny and sensationalism in the mainstream press,^[38] although conflicting accounts about the degree of connection between acid house music and drugs continued to surface.^[39]

First acid house songs[link]

The earliest recorded examples of acid house are a matter of debate.

At least one historian considers the Phuture's "Acid Trax" to be the genre's earliest example;^[18] DJ Pierre says it may have been composed as early as 1985,^[40] but it was not released until 1987. Another points out Sleezy D's "I've Lost Control" (1986) was the first to be released on vinyl, and it's impossible to know which track was created first.^[40]

Proto-acid house[link]

In recent years, reports surfaced about a 1982 album that sounds similar to what would later be called acid house. The album, Synthesizing: Ten Ragas to a Disco Beat, is by Charanjit Singh, a Bollywood session musician from Mumbai, and features Indian ragas fused with disco.^[41][42] The album was recorded using the same basic Roland equipment often used for later acid house music: the TR-808 and particularly the TB-303, which Singh was one of the first musicians to utilize.^[42] The record was initially a commercial failure in India and eventually forgotten, but its re-discovery in 2002 and eventual re-release in early 2010 has prompted many comparisons to acid house music, with some even considering it to be the first example of an acid house record.^[41][42][43]

Notable acid house artists[link]

• Phuture - Chicago-based group of acid-house pioneers, formed in 1985 and best known for its classic 1987 single "Acid Tracks," which is considered to be the 12-inch single that gave birth to the acid house movement
• DJ Pierre - A member of Phuture, released various solo acid house tracks and remixes
• Armando - Chicago acid house musician, for "Land of Confusion" and many other seminal tracks
• Mr. Lee - Another Chicago house musician who released several acid house tracks in 1988
• Fast Eddie - Another Chicago house musician, for "Acid Thunder"
• Adonis - Another Chicago house musician, for "We're Rockin Down The House"
• Bam Bam - Another Chicago house musician, for "Where Is Your Child" and "Give It To Me"
• Lil Louis - Another Chicago house musician, for "Frequency"
• 808 State - A group of house/techno musicians from Manchester formed in 1988. The group's first album, Newbuild, was acid house, and occasional acid house influences appear in later tracks
• A Guy Called Gerald - 808 State cofounder, for the single "Voodoo Ray"
• The KLF - For "What Time Is Love?" and their self-described "stadium house" sound, which mixes acid house with hip-hop, pop, and stadium rock/chant influences
• The Shamen - Psychedelic techno act formed as a rock band in Aberdeen, Scotland in 1986. One of the first groups to bring acid house and techno into the pop mainstream
• Psychic TV - Released early albums of acid house music in 1988 as fake compilations
• S'Express - Brought acid house to number one in the United Kingdom
• Baby Ford - English producer Peter Frank Adshead. 1988 release "Oochy Koochy" and first album, "Fordtrax", influenced by acid house
• D Mob - Best known for 1988 UK #3 hit "We Call It Acieed"
• Kevin Saunderson - Detroit house musician known as Reese & Santonio with his hit "Rock To the Beat", covered by 101
• Maurice - Chicago house musician best known for the 1988–1989 hit "This Is Acid"

See also[link]

• Second Summer of Love
• Lords of Acid
• Sunrise/Back to the Future
• Genesis '88
• Madchester
• Free party
• Acid techno
• New Beat
• Rave
• List of electronic music genres

References[link]

External links[link]

• Acid-House.net, acid house fan site
• Jahsonic's History of Acid House
• History of House Article covering the history of house, touching on Acid House
• Discussion of Race and Music with specific references to Acid House
• Entertainment & Sports Law Journal Vol 1. No. 3 contains a comparative review of 11 books covering the acid house and early rave scenes
• Acid history Short multimedia history of early steps in acid house.
• They Call It Acid - promotional site for an acid house documentary film.

Additional references

• Collin, Matthew; Godfrey, John. (1st edition, April 1997; 2nd edition, November 15, 1998). Altered State: The Story of Ecstasy Culture and Acid House. Serpent's Tail. ISBN 1-85242-377-3 (1st edition); ISBN 1-85242-604-7 (2nd edition).
• Bussmann, Jane. (1998) Once in a Lifetime: The Crazy Days of Acid House and Afterwards. London: Virgin. ISBN 0-7535-0260-7.
• Shapiro, Peter (ed.), et al. (October 15, 2000). Modulations: A History of Electronic Music: Throbbing Words on Sound. Charles Rivers Publishing Co. ISBN 1-891024-06-X.
• A bibliography of acid house references in 1988–1989 periodicals

This biographical article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (June 2011)

Peter Ford, better known as Baby Ford, is a British electronic music record producer,^[1] known particularly for his contributions to the birth of acid house. He has also released material under the aliases Cassino Classix, El Mal, Solcyc, and Simprini Risin'.

Career[link]

Ford was influenced by Chicago musicians such as Marshall Jefferson, Ron Trent, Armando, and Larry Heard, and was one of the founders of the acid house scene in the United Kingdom.^[2] His early work was released on Rhythm King, including the club tracks "Oochy Koochy (F.U. Baby Yeah Yeah)" (UK #58), and "Chikki Chikki Ahh Ahh" (UK #54).^[1] These two first singles appeared on the 2x12" EP "Ford Trax" (BFORD3.)

Both appeared in remixed form on the EP, and the original singles were remixed on a variety of different formats (12" and CD) and energized the burgeoning UK acid-house scene. Sire Records in the US signed Baby Ford, as well as several other artists, on the Rhythm King label. Sire had been impressed with the label, but reportedly had concerns about how to effectively market Rhythm King artists in the US, as acid house had not broken into the US mainstream. The second album Oooh, the World of Baby Ford contained three singles, the most popular of which was 1989's "Children of the Revolution" (UK #53).^[1] It was also a club hit across the globe, as was 1990's "Beach Bump" (UK #68).^[1] The US released the "Let's Talk It Over" EP in 1990, with exclusive live tracks. The tracks were recorded on Baby Ford's tour of the US, where he opened for Depeche Mode on several dates of their Violator tour.

The BFord9 album in 1992 revealed a different side of Ford's electronic influences. The release incorporated minimal techno with trance-like elements, long before these genres became popular later in the decade.^{[citation needed]} CJ Bolland contributed a mix of "In Your Blood" on BFord9 and "Fetish" was a club hit in both the UK and the US. Several of the songs on BFord9 were re-released by Aphex Twin on his Re-Phlex label in the late 1990s in a remixed format on "Normal EP". Many of these remixes were recorded in 1992.

Baby Ford, Eon, and Mark Broom continued their explorations into minimal electronic music throughout the 1990s and well into the next decade through the iFach, Pal-SL and Trelik Record labels. iFach Vol. 1 contained the first five releases on the iFach label.

Releases appeared on Sire, Source, and Insumision/Transglobal. He co-managed the labels Trelik and iFach, and worked with Trelik's Ian Loveday. His remixing work includes tracks by Stefan Robbers and S'Express.

Discography[link]

This list is incomplete; you can help by expanding it.

Albums[link]

• Ford Trax (Rhythm King, 1988, BFORD3)
• Oooh, the World of Baby Ford (Sire, 1989, BFORD5)
• BFord9 (Sire, 1992)
• Headphoneasyrider (Blackmarket Records, 1997, BFORD12)
• Sacred Machine (Klang Electronic, 2001)
• Basking in the Brakelights (EFA, 2003)
• Birds (Pal, 2007)

Singles and EPs[link]

• "Oochy Koochy (F.U. Baby Yeah Yeah)" (Rhythm King 1988) (BFORD1) - UK #58
• "Chikki Chikki Ahh Ahh" (Rhythm King 1988) (BFORD2) - UK #54
• "Children of the Revolution" (Rhythm King 1989) (BFORD4) - UK #53
• "Beach Bump" (Rhythm King 1990) (BFORD6) - UK #68
• "Change" (Rhythm King 1990) (BFORD7)
• "In Your Blood" (Rhythm King 1992) (BFORD8)
• "Fetish" (Rhythm King 1992) (BFORD10)
• "Move-On" (Sire US 1992) (US-only release)
• "Slow Hand" (PAL-SL 1) (BFORD11)
• "Tall Storey" / "Now and Then" (Source Records) (BFORD13)
• "Night D3 Died EP" (PAL-SL 4) (BFORD14)
• "Normal EP" (Rephlex 1999) (BFORD15)^[1]

References[link]

External links[link]

• Baby Ford site
• Discogs: Baby Ford
• The Garage Recording Studio: Baby Ford

Thomas (Tom) Dissevelt (4 March 1921, Leiden - 1989) was a Dutch composer and musician. He is known as a pioneer in the merging of electronic music and jazz. He married Rina Reys, sister of Rita Reys in 1946.

Tom Dissevelt was also known as bassist / arranger in the Skymasters and on the boards of Rita Reijs.

Between 1939 and 1944 Dissevelt studied at the Royal Conservatory in The Hague. He took over three years in trombone lessons and then went onto study clarinet, music theory and piano. He stopped studying the clarinet because he was too busy and took bass lessons from Herman Stotijn of the Residence Orchestra.

After the war Dissevelt moved to Indonesia with the Jos Cleber Orchestra to work. He was in love with Rina Reys, and married her in 1946. In 1947 he did an international tour with Ilcken Wessel, the husband of Rita Reys, and the orchestra of Piet van Dijk. This tour lasted three years, where she acted in Spain and North Africa.

In 1955 Bep Rowold, leader of the Skymasters, hired Dissevelt as a bassist and arranger. He became interested in 12-tone music, listened to the many German radio stations, and heard works by Karlheinz Stockhausen and Anton Webern. Recommended by Philips, he was invited to the Natlab studios electronic music. Together with Dick Raaijmakers (alias "Kid Baltan") he composed electronic music. Many of his compositions are now heard on the record "Popular Electronics - Early Dutch electronic music from Philips Research Laboratories, 1956-1963".

The way pop music was emerging and the changing of the way radio stations operated (mainly by no longer broadcasting orchestras) made Dissevelt decide to abandon working with orchestras. He was assistant to a few Dutch entertainers like Wim Sonneveld and Toon Hermans.

External links[link]

• Video on YouTube Sonik Re-Entry 1957
• Video on YouTube Song of the Second Moon 1957

Dick Raaymakers (Raaijmakers) (Maastricht, 1 September 1930)^[1] is a Dutch composer, theater maker and theorist. He is known as a pioneer in the field of electronic music and tape music but he has also realized numerous music theater pieces and has published many theoretical essays.

Biography[link]

Raaymakers studied the piano at the Royal Conservatoire (The Hague). From 1954 to 1960 he worked in the field of electro-acoustic research at Royal Philips Electronics Ltd. in Eindhoven. There, using the alias Kid Baltan, he and Tom Dissevelt, under the name Electrosoniks produced works of popular music by electronic means (which turned out to be the first attempts of their kind in the world).^[1] From 1960 to 1962 he then worked at the University of Utrecht as a scientific staff member. From 1963 to 1966, together with Jan Boerman, he worked in his own studio for electronic music in the Hague. Then, from 1966 until his retirement in 1995, he worked as a teacher of Electronic and Contemporary Music at the Royal Conservatoire (The Hague) and since 1991 also as a teacher of Music Theatre at the Image and Sound Interfaculty, at the same conservatory.

Works[link]

Performance of The Fall of Mussolini, Westergasfabriek, Amsterdam, May–June 1995

Performance of The Fall of Mussolini, Westergasfabriek, Amsterdam, May–June 1995

Raaymakers’ oeuvre covers a wide variety of genres and styles, varying from sound animations for films to extremely abstract pulse structures, from "action music" to infinite voice patterns, from electro-acoustic tableaux vivants to extracts of music theatre. He is considered as someone who combines disciplines such as visual art, film, literature and theatre with the world of music. Raaymakers has created numerous electronic compositions, "instructional pieces" for string ensembles, phono-kinetic objects, "graphic methods" for tractor and bicycle, "operations" for tape, film, theatre, percussion ensemble, museum and performance, artworks for offices and conservatory, and many soundscape compositions and music theatre productions, including some for the Holland Festival and for theatre company Hollandia. His theoretical essays are evidence of his profound interest in special inter-media connections. For instance, in his latest publication Cahier M (2000) Raaymakers elaborated upon the connections he saw between the 19th-century French physiologist Étienne-Jules Marey, composer Pierre Boulez, architect Iannis Xenakis and the musical views of Piet Mondrian.

One of his most important books is The Method (1985), in which he describes, in an exact but also poetic way, how motion, cause and effect, and their perception are interrelated.

Awards[link]

In the 1990s Raaymakers received several awards for his contribution to the development of visual arts and music in the Netherlands: in 1992 the lifetime's achievement award from the Foundation for Visual Arts, Design and Architecture (BKVB) in Amsterdam, in 1994 the Matthijs Vermeulen Award from the Amsterdam Art Foundation and in 1995 the Ouborg Award for his lifetime's achievement from the City of The Hague. In late 1995 the biennial "Festival in de Branding", organized by the Wagenaar Foundation in The Hague, was dedicated exclusively to Raaymakers’ musical and visual work. In 2005 he received a lifetime's achievement award from the Johan Wagenaar Foundation and an honorary doctorate from the University of Leiden. In November 2011 Raaymakers received the Witteveen+Bos Award for Art+Technology for his entire oeuvre.

Oeuvre[link]

Music theatre productions and art works:

• The Art of Opening an Exhibition (1966)
• Radioproject (1966–1967) Radio Project
• Balade Erlkönig (1967) Erlkönig Ballad
• Grafisch kwartet (1968) Graphic Quartet
• Kwartet (1971) Quartet
• Kwartet heiliger Dankgesang (2000) Quartett heiliger Dankgesang
• Nachtmuziek (1969) Night Music
• Schaakmuziek (1969) Chess Music
• Ideofoon 1 (1970–1973) Ideophone 1
• Ideofoon 2 (1970–1973) Ideophone 2
• Ideofoon 3 (1970–1973) Ideophone 3
• Chairman Mao Is Our Guide (1970)
• De lange mars (1971) The Long March
• Mao leve! (1977) May Mao Live!
• Kwintet (1972–1976) Quintet
• Actio in distans (1977)
• De grafische methode tractor (1976) The Graphic Method Tractor
• De grafische methode fiets (1979) The Graphic Method Bicycle
• De kunst van het machinelezen (1978) The Art of Reading Machines
• Shhh! (1981)
• The Microman (1982)
• Ow! (1983–1984)
• Soundmen (1984)
• Come On! (1984)
• The Soundwall (1982–1984)
• Hey-hey! (1990) Hey-Hey!
• Ping-pong (1983–1996) Ping Pong
• Extase (1984) Extacy
• Acht labielen (1984–1985) Eight Labiles
• Scheuermachine (1985) Scheuer Machine
• Der Stein (1995)
• Scheuer im Haag (1995)
• Tombeau de Glenn Gould (1989)
• Der Fall Leiermann (1991)
• Dépons/Der Fall (1992)
• Der Fall/Dépons (1993)
• Intona (1991)
• Fort-klank (1993) Fort Sound
• Probe (1993)
• De val van Mussolini (1995) The Fall of Mussolini
• Hermans hand (1995) Hermans Hand
• Volta (1995)
• Konzert für ... (1997–2000) Concert for ...
• Proefneming met een tabakspijp (1998–1999) Experiment with a Tobacco Pipe
• De weergave (2000) The Rendition
• Ritueel moment (2005) Ritual Moment

Compositions:

• Song of the 2nd Moon (1957)
• Tweeklank (1959) Contrast
• Pianoforte (1960)
• Vijf Plastieken (1961) Five Sculptures
• Canon-1, super augere (1964)
• Canon-2, super imprimere (1964)
• Canon-3, super addere (1965)
• Canon-4, super sub-trahere (1965/66)
• Canon-5, super ‘dis-moi …’ (1967)
• Ballade Erlkönig voor Luidsprekers (1967) Erlkönig Ballad for Loudspeakers
• Filmmuziek-1: Mechanical Motions (1960)
• Filmmuziek-2: Bekaert (1966)
• Filmmuziek-3: Sidmar (1969)
• Chairman Mao Is Our Guide (1970)
• De lange mars (1971) The Long March
• Mao Leve! (1977) May Mao Live!
• Ach! Ach! (1987) My! My!
• Plumes (1967)
• Flux (1967)
• Lied van de Arbeid (1976) Ode to Labor
• Kwartet (1971) Quartet
• Ping-pong (1983) Ping Pong
• Der Fall Leiermann (1991)
• Du Armer! (1993)
• Vier Fanfares (1995) Four Fanfares

Publications[link]

• Raaijmakers, D. Cahier ‘M’: a Brief Morphology of Electric Sound. Revised Edition. Series: Collected Writings of the Orpheus Institute. Translated by Richard Barrett. Leuven: Leuven University Press (2005)
• Mulder, Arjen & Joke Brouwer (eds.) Dick Raaymakers - A Monograph. Rotterdam: V2_ Publishing (2008) http://www.dickraaijmakers.nl
• Raaijmakers, D. Method. Edited and translated by Vincent W.J. van Gerven Oei. Eindhoven: Onomatopee (2009) http://www.onomatopee.net

References[link]

External links[link]

• Video on YouTube Sonik Re-Entry 1957
• Video on YouTube Song of the Second Moon 1957
• Video on YouTube Intona (1992)
• Video on YouTube Intona (Full Version) (1992)
• Dick Raaymakers at v2.nl