Suitable for those interested in contemporary musicology or media history, this title offers a translation of the author's pioneering work - at once a journal of his experiments in sound composition and a treatise on the raison d'etre of concrete music.
Electronic music evokes new sensations, feelings, and thoughts in both composers and listeners. Composing Electronic Music outlines a new theory based on the powerful toolkit of electronic music techniques.
Electronic and Experimental Music: Technology, Music, and Culture provides a comprehensive history of electronic music, covering key composers, genres, and techniques used in analog and digital synthesis. This textbook has been extensively revised with the needs of students and instructors in mind. The reader-friendly style, logical organization, and pedagogical features of the fifth edition allow easy access to key ideas, milestones, and concepts. New to this edition: • A companion website, featuring key examples of electronic music, both historical and contemporary. • Listening Guides providing a moment-by-moment annotated exploration of key works of electronic music. • A new chapter—Contemporary Practices in Composing Electronic Music. • Updated presentation of classic electronic music in the United Kingdom, Italy, Latin America, and Asia, covering the history of electronic music globally. • An expanded discussion of early experiments with jazz and electronic music, and the roots of electronic rock. • Additional accounts of the vastly under-reported contributions of women composers in the field. • More photos, scores, and illustrations throughout. The companion website features a number of student and instructor resources, such as additional Listening Guides, links to streaming audio examples and online video resources, PowerPoint slides, and interactive quizzes.
Musicians are always quick to adopt and explore new technologies. The fast-paced changes wrought by electrification, from the microphone via the analogue synthesiser to the laptop computer, have led to a wide range of new musical styles and techniques. Electronic music has grown to a broad field of investigation, taking in historical movements such as musique concrète and elektronische Musik, and contemporary trends such as electronic dance music and electronica. The first edition of this book won the 2009 Nicolas Bessaraboff Prize as it brought together researchers at the forefront of the sonic explorations empowered by electronic technology to provide accessible and insightful overviews of core topics and uncover some hitherto less publicised corners of worldwide movements. This updated and expanded second edition includes four entirely new chapters, as well as new original statements from globally renowned artists of the electronic music scene, and celebrates a diverse array of technologies, practices and music.
A technophile's wet dream going beyond the limits of an encyclopedia or a record guide, here are essays by musicians and music journalists which illuminate genres techno, house, krautrock, disco, hip-hop, jungle, drum'n'bass, ambient and downtempo. Probing the conceptual origins of synthesised sound and including legendary names Kraftwerk, Giorgio Moroder, Robert Moog and John Cage, the black roots of electronic music are also documented, from free-jass traveller Sun Ra to funk inovators Parliament and Funkadelic. With sections on fusion, dub, post-punk, breakbeats+.
The second edition of a classic text on the history of electronic music, this book has been thoroughly updated to present material on home computers and the Internet, as well as enlarged sections on history and theoretical issues.
Electronic music is now ubiquitous, from mainstream pop hits to the furthest reaches of the avant garde. But how did we get here? In Mars by 1980, David Stubbs charts the evolution of synthesised tones, from the earliest mechanical experiments in the late nineteenth century, through the musique concrete of the Futurists and radical composers such as Pierre Schaeffer and Karl Stockhausen, to the gradual absorption of electronic instrumentation into the mainstream, be it through the BBC Radiophonic Workshop, grandiose prog rock or the DIY approach of electronica, house and techno.Stubbs tells a tale of mavericks and future dreamers, malfunctioning devices and sonic mayhem. But above all, he describes an essential story of authenticity: is this music? Mars by 1980 is the definitive account that answers this question.
The Treatise on Musical Objects is regarded as Pierre Schaeffer’s most important work on music and its relationship with technology. Schaeffer expands his earlier research in musique concrète to suggest a methodology of working with sounds based on his experiences in radio broadcasting and the recording studio. Drawing on acoustics, physics, and physiology, but also on philosophy and the relationship between subject and object, Schaeffer’s essay summarizes his theoretical and practical work in music composition. Translators Christine North and John Dack present an important book in the history of ideas in Europe that will resonate far beyond electroacoustic music.