Music, Electronic Media and Culture / Edition 1

by Simon Emmerson

Overview

Technology revolutionised the ways that music was produced in the twentieth century. As that century drew to a close and a new century begins a new revolution in roles is underway. The separate categories of composer, performer, distributor and listener are being challenged, while the sounds of the world itself become available for musical use. All kinds of sounds are now brought into the remit of composition, enabling the music of others to be sampled (or plundered), including that of unwitting musicians from non-western cultures. This sound world may appear contradictory - stimulating and invigorating as well as exploitative and destructive. This book addresses some of the issues now posed by the brave new world of music produced with technology.

Product Details

ISBN-13:	9780754601098
Publisher:	Taylor & Francis
Publication date:	12/28/2000
Pages:	262
Product dimensions:	6.12(w) x 9.19(h) x (d)

Table of Contents

Introduction, Simon Emmerson; Part 1 Listening and interpreting; Chapter 1 Through and around the acousmatic: the interpretation of electroacoustic sounds, Luke Windsor; Chapter 2 Simulation and reality: the new sonic objects, Ambrose Field; Chapter 3 Beyond the acousmatic: hybrid tendencies in electroacoustic music, Simon Waters; Part 2 Cultural noise; Chapter 4 Plunderphonics, Chris Cutler; Chapter 5 Crossing cultural boundaries through technology?, Simon Emmerson; Chapter 6 Cacophony, Robert Worby; Part 3 New places, spaces and narratives; Chapter 7 Art on air: a profile of new radio art, Kersten Glandien; Chapter 8 ‘Losing touch?’: the human performer and electronics, Simon Emmerson; Chapter 9 Stepping outside for a moment: narrative space in two works for sound alone, Katharine Norman;

Editorial Reviews

Emmerson (music, City U. of London) presents nine essays by musical experts who explore the new world of music sounds and the questions it poses in terms of making music and listening to it. First, they discuss the myriad confusing and exciting possibilities raised by sound that we hear but whose source we cannot see (the acousmatic), providing new perspectives including an ecological view of human perception. Next, they explore the ways in which the history and plurality of culture has itself become the object of musical creativity in the form of sampling or plundering. Finally, they probe the potential fields of sound perception offered by the imagination. Annotation c. Book News, Inc., Portland, OR (booknews.com)

Booknews

’...the essays are well written and teem with marvelous insights...well worth owning.’ The Tentacle '... rich bibliographical references [...] follow each chapter.' International Review of the Aesthetics and Sociology of Music

From the Publisher